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iLbc  University  of  (Tbicaoo 

FOUNDED  BY  JOHN  D.  ROCKEFELLER 


|\  STUDY  OF  THE  TECHNIQUE  IN 

KONRAD  FERDINAND  MEYER'S 

NOVELLEN 


A   DISSERTATION 

[UBMITTED     TO     THE     FACULTY     OF     THE     GRADUATE     SCHOOL     OF     ARTS 

AND    LITERATURE     IN    CANDIDACY     FOR    THE    DEGREE     OF 

DOCTOR     OF    PHILOSOPHY 

(department    of    GERMANIC    LANGUAGES    AND    LITERATURES) 


V 


BY 
MARION  LEE  TAYLOR 


CHICAGO 

THE  UNIVERSITY  OF  CHICAGO  PRESS 

1909 


i^^ia!i'k^i<ik-»j'>i»^1i 


XTbe  "Clntversit^  of  Cbicago 

FOUNDED  BY  JOHN  O.  ROCKEFELLER 


A  STUDY  OF  THE  TECHNIQUE  IN 

KONRAD  FERDINAND  MEYER'S 

NOVELLEN 


A   DISSERTATION 

SUBMITTED     TO     THE     FACULTY     OF    THE     GRADUATE     SCHOOL      OF     ARTS 

AND    LITERATURE     IN    CANDIDACY    FOR     THE    DEGREE     OF 

DOCTOR     OF    PHILOSOPHY 

(department    OF    GERMANIC    LANGUAGES    AND    LITERATURES) 


BY 

MARION  LEE  TAYLOR 


CHICAGO 

THE  UNIVERSITY  OF  CHICAGO  PRESS 

1909 


tlbe  mnivetsit^  ot  Cbicago 

FOUNDED  BY  JOHN  D.  ROCKEFELLER 


A  STUDY  OF  THE  TECHNIQUE  IN 

KONRAD  FERDINAND  MEYER'S 

NOVELLEN 


A   DISSERTATION 

SUBMITTED     TO     THE     FACULTY     OF    THE     GRADUATE     SCHOOL     OF     ARTS 

AND    LITERATURE     IN     CANDIDACY     FOR     THE    DEGREE     OF 

DOCTOR     OF     PHILOSOPHY 

(department    of    GERMANIC    LANGUAGES    AND    LITERATURES) 


BY 
MARION  LEE  TAYLOR 


CHICAGO 

THE  UNIVERSITY  OF  CHICAGO  PRESS 

1909 


.  a^U, 


Copyright  1909  Bv 
Thk  University  of  Chicago 


Published  June  1909 


Composed  and  Printed  By 

The  University  of  Chicago  Press 

Chicago,  Illinois,  U.  S.  A. 


TABLE  OF  CONTENTS 


PAGE 
I 


I.  Introduction 

Discussion  of  the  term  technique.  Meyer's  starting-point  in  the  char- 
acters. 

II.  Characterization  

Classes  of  characters:  Central  character — Main  and  subordinate  char- 
acters— Simple  and  complex  characters — Developing  or  self-revealing 
characters — Abnormal  characters — Individual  or  typical  characters — 
Female  characters. 

Methods  of  portrayal:  Circumstantial  description — Colored  by  inner 
character — External  description  suggestive  and  accumulative — Physiog- 
nomy— Typical  names — Epithets — Sectional  and  national  traits — 
Professional  traits — Characters  drawn  according  to  the  role  they  play — 
Dramatic  characterization — Psychological — Mental  traits — Use  of  par- 
enthetical phrases — Pantomime  and  gesticulation — Use  of  comparisons. 
Relation  to  action:  Moral  unity — Action  springs  from  the  characters. 
Introduction  of  characters:  Prepared — Symbolic — Abrupt. 
Contrast  of  characters:  Angela  and  Lucretia  Borgia — Henry  II  and 
Becket. 

Grouping:  Self-revelation  of  the  characters  through  speech  and  through 
acts. 

Interplay  of  character. 
Objective  presentation  versus  analysis  or  comment. 

III.  Plot 

Motivation:  In  Der  Heilige— In  Jurg  Jenatsch — Plot  structure  and 
dramatic  line  in  Jiirg  Jenatsch — Use  of  accident — Motivation  in  Die 
Leiden  eines  Knaben — Initial  action — Point  of  view — Time  of  the  stories 
— Double  interests  in  plot— Love  interest— Threads  of  plot— Incidents 
of  plot — Type  of  plot — Illusion. 

Suspense:  Mystery — Secret  observation — Prophecies,  visions,  dreams, 
forebodings— Developed  by  repetition  of  words,  referring  to  denoue- 
ment, serving  as  Leitmotiv,  emphasizing  point  at  issue  or  fate  idea; 
of  scenes;  of  action — Special  reference  to  Jurg  Jenatsch,  including 
repetition  of  words  and  sounds— Use  of  short  sentences— Suspense  in 
Angela  Borgia. 

Unity:    Intercalations — Digressions — Repetition. 
Frame-stories:    In  Die  Hochzeit  des  Monchs— The  narrator. 

IV.  Modalities  of  Composition 55 

Symbolism— Suggestiveness  and  compression— Parallelism— Objectiv- 
ity—Subjectivity — Romantic  features — Realism — Interpretation  of  his- 
tory—Picturesqueness— Plasticity— Dramatic  features— Characteristics 
of  stories  as  Novellen. 


30 


185338 


IV  TABLE   OF   CONTENTS 

V.  Settings 73 

Time:  Organic  relation  to  plot — Shifts  in  time  and  place. 

Place:  Interiors — Architecture.     Landscape:  as  background,  connected 

with  the  motive,  to  create  atmosphere,  emphasizing  pathos  and  unity. 

Circumstantial:   Contrast — Brevity  of  nature  descriptions. 

Purpose. 

VI.  Style 82 

Vocabulary:  Objective  phrases — Combination  of  objective  and  sub- 
jective phrases — Epithets — Felicitous  and  dynamic  phrases — Color  words 
and  onomatopoeia — Alliteration  and  hendiadys. 

Sentences:  Long  and  balanced — Short — Interrogation  and  exclama- 
tion. 

Paragraphs. 

Figures  of  speech:   Similes — Metaphors — Allegory — Antithesis — Climax 
— Personification — Allusions. 
Epigrams. 

Qualities  of  style:  Clearness  and  strength — Humor — Pathos — Irony — 
Sarcasm. 

Adornments  of  style. 
Kinds  of  composition:  Description.    Narration:  Dialogue — Exposition. 

VII.  Conclusion 103 

Bibliography .       .       .       .       .      105 


OF 


I.    INTRODUCTION 

Note. — The  names  of  the  authors  and  the  titles  of  their  several  works  which  are 
referred  to  throughout  this  thesis  are  given  in  full  in  the  appended  Bibliography. 
Hence  it  has  not  been  thought  necessary  to  make  any  fuller  reference  in  the  footnotes 
than  by  the  use  of  the  words  "op.  cit."  in  connection  with  the  author's  name,  which 
should  be  taken  as  a  direct  reference  to  the  work  cited  in  the  Bibliography. 

Die  Fakta  betrachten  wir  als  etwas  Zufalliges,  als  etwas,  das  mehrem  Per- 
sonen  gemein  sein  kann;  die  Charaktere  hingegen  als  etwas  Wesentliches  und 
Eigentiimliches.  Mit  jenen  lassen  wir  den  Dichter  umspringen,  wie  er  will,  so 
lange  er  sie  nur  nicht  mit  den  Charakteren  in  Widerspruch  setzt;  diese  hingegen 
darf  er  wohl  ins  Licht  stellen,  aber  nicht  verandem;  die  geringste  Veranderung 
scheint  uns  die  Individualitat  aufzuheben  und  andere  Personen  unterzuschieben, 
betriigerische  Personen,  die  fremde  Namen  usurpieren  und  sich  fiir  etwas  aus- 
geben,  was  sie  nicht  sind. 

Aber  dennoch  diinkt  es  mich  immer  ein  weit  verzeihlicherer  Fehler,  seinen 
Personen  nicht  die  Charaktere  zu  geben,  die  ihnen  die  Geschichte  gibt,  als  in 
diesen  freiwillig  gewahlten  Charakteren  selbst,  es  sei  von  seiten  der  innem  Wahr- 
scheinlichkeit  oder  von  seiten  des  Unterrichtenden,  zu  verstoszen.  Denn  jener 
Fehler  kann  vollkommen  mit  dem  Genie  bestehen,  nicht  aber  dieser,  ....  nicht 
der  erworbene  Vorrat  seines  Gedachtnisses,  sondem  das,  was  es  (das  Genie)  aus 
sich  selbst,  aus  seinem  eigenen  Gefiihl  hervorzubringen  vermag,  macht  seinen 
Reichtum  aus.' 

These  are  the  words  of  Lessing,  the  critic  who  revolutionized  the  old 
ideas  of  tragedy  and  established  a  new  basis  for  modern  dramatists.  He 
undertook  to  prove  to  his  contemporaries  that,  whether  in  the  historical  or 
non-historical  drama,  the  chief  emphasis  was  to  be  laid  on  character,  and 
that  the  motivation  of  the  plot  and  all  other  matters  of  form  were  to  be  in 
harmony  with  and  determined  by  the  conception  of  character.^ 

Basing  our  conception  of  technique,  then,  on  Lessing's  observations, 
a  study  of  technique  should  be  primarily  a  consideration  of  the  characters 
as  presented.  Having  discovered  the  character-relations  in  the  works 
under  discussion,  the  next  step  should  be  to  show  how  every  other  constituent 
element  of  the  composition  and  style  is  dependent  upon  these  relations  and 
flows  naturally  from  them. 

Konrad  Ferdinand  Meyer  had  an  inherent  dramatic  turn  of  mind.  He 
said  of  himself  that  he  could  express  his  inmost  truest  nature  only  in  the 

1  Hamburgische  Dramaturgie,  Stiick  33,  end,  and  beginning  of  Stiick  34. 

2  Cf.  ibid.,  St.  30,  p.  2,  Cotta  ed.,  p.  222. 


2  TECHNIQUE   IN   KONRAD   FERDINAND   MEYER's   NOVELLEN 

dramatic  form.^  That  is,  he  entered  into  his  characters,  saw  with  their 
eyes,  heard  with  their  ears,  and  was  moved  by  the  same  mental  and  spiritual 
struggles  as  they.  Having  started  with  his  characters,  he  proceeded  to 
study  the  time-setting  in  which  they  were  to  be  placed,  to  consider  the 
historical  facts  which  would  reveal  the  characters  or  interpret  their  develop- 
ment, to  invent  the  necessary  links  in  the  plot  showing  the  motives  hidden 
within  the  character,  and,  lastly,  to  embody  the  whole  in  a  form  which 
should  be  in  keeping  with  this  same  central  idea. 

The  external  form  of  Meyer's  work  is  especially  praised  by  critics.  It 
has  been  said  that  his  work  is  artistic,  but  that  this  quality  predominates 
to  such  an  extent  that  the  whole  makes  no  deeper  appeal,  and  is  to  be  con- 
sidered rather  as  a  luxury  (Luxuskunst)  than  as  a  necessity. 

Immer  wieder  wird  sich  der  feinere  Sinn  an  der  auszerordentlichen  Plastik 
der  Schilderung,  an  der  bewuszt  kunstvollen  Fortfuhrung  der  Handlung,  an  dem 
gewissen  latenten  Pathos,  das  alles  atmet,  erbauen.  Aber  Konrad  Ferdinand 
Meyer  ist  zu  sehr  Kiinstler.  Wohl  hat  er  in  seiner  Werkstatt  Becher  gehammert 
und  Schwerter  geschmiedet,  aber  es  waren  nicht  Becher  fiir  die  Durstigen  und 
Schwerter  fiir  die  Kampfenden,  es  waren  goldene  Zierrate  fiir  satte  Herzen 

Ich  wiederhole:  er  ist  durchaus  Phantasiedichter.  Aber  es  hebt  ihn  vor 
anderen,  dasz  seine  Phantasiegebilde  nicht  nur  tote  Glitzerdinge  sind,  sondem 
wie  der  Schatten  in  dem  Lethe-Gedicht,  "mit  einem  Schein  von  Blut"  gefarbt 
und  lebendig  gekiiszt  von  der  wilden  Sehnsucht  des  Herzens.^ 
In  spite  of  the  beauty  of  the  form  and  the  admiration  it  excites  for  its  own 
sake,  I  hope  to  show  that  it  is  dependent  on  the  conception  of  character 
which  was  Meyer's  starting-point. 

It  is  not,  however,  conceded  by  all  that  Meyer  did  start  with  the  char- 
acters. One  writer,  Stoessl,  seems  to  me  to  contradict  himself  in  regard 
to  this  point.  After  making  a  statement  to  the  effect  that  Meyer's  work  is 
picturesque  but  not  plastic,  that  it  lacks  depth,  Stoessl  says: 

In  der  Personlichkeit  ist  jedes  Gebahren  der  Zeit  sichtbarer,  mit  symbo- 
lischer  Bedeutung  festgestellt  und  zur  Erscheinung  gebracht.  Aus  der  bewuszten 
und  heraustretenden  Tat  eines  heroischen  Individuums  laszt  sich  die  treibende 
Kraft  der  Gesamtheit,  ihre  Not,  ihr  Entschlusz  am  sichersten  erkennen  und 
gestalten. 

But  he  further  says  that  the  result  of  Meyer's  aesthetic  point  of  view  is — 
dasz  ihn  in  der  Regel  nicht  die  unmittelbaren,  seelischen  Probleme  zuerst  auf- 
suchen,  fur  die  er  historische  Gleichnisse  wahlt,  sondem  vielmehr  die  Erschei- 

I  "Wahr  kann  ich  nur  unter  der  dramatischen  Maske  al  fresco  sein.  Im  Jenatsch 
und  im  Heiligen  (beide  urspriinglich  dramatisch  konzipiert)  ist  in  den  verschiedensten 
Verkleidungen  weit  mehr  von  mir,  meinen  wahren  Leiden  und  Leidenschaften,  als  in 
dieser  Lyrik " — Letter  to  Luise  von  Franfois,  Langmesser,   op.  cit.,  p.  126. 

'  Busse,  op.  cit.,  pp.  8,  21. 


INTRODUCTION  3 

nungen  der  femen  Zeit  selbst  in  Kostiim  und  Stimmung.  Von  ihnen  menschlich 
ergriflfen,  erhebt  er  sie  wieder  und  sucht  erst  im  Vorgang  des  Schaffens  nach 
ihrer  menschlichen  Tiefe,  nach  ihrem  geistigen  Inhalt.^ 

It  is  only  necessary  to  cite  the  example  of  a  writer  of  historical  novels 
whose  chief  interest  is  in  the  historical  background,  namely  Scott,  to  show 
by  contrast  that  this  is  not  Meyer's  method.  It  is  the  problem  presented 
that  gives  Meyer's  Novellen  vital  interest.  Luise  von  Francois  observes 
this  quality  in  Meyer's  work  in  her  first  letter  to  him : 

In  einem  Briefe  eines  Langvergessenen — Solger — habe  ich  einstmals  uber 
Walter  Scott  gelesen  und  mir  gemerkt,  well  es  mir  aus  der  Seele  geschrieben 
war:  wie  wenig  fehlte  diesem  Autor  um  ein  groszer  Dichter  zu  sein,  und  wie 
macht  doch  just  dieses  Wenige  den  groszen  Dichter!  Dieses  Etwas  pulst  in 
Ihren  Dichtungen,  eine  Shakespearische  Ader:  der  Tiefsinn,  wie  ich  es  nenne, 
ein  Problem,  wie  Sie  selbst  es  nennen.  Ihr  Problem  ist  nicht  die  halbe  Kraft, 
sondem  eine  dopi)elte " 

This  comparison  with  Scott  is  interesting  because  it  touches  on  just  the 
point  made  here — that  Meyer,  instead  of  writing  from  a  vague  general 
interest  in  the  past,  or  even  a  local  national  interest,  as  did  Scott,  made 
every  detail  hinge  upon  the  idea  of  the  personality  he  wished  to  present. 
We  shall  notice  the  national  element  in  Meyer's  work,  too,  but  it  appears 
only  as  an  explanation  of  the  character,  whereas  in  Scott  there  is  no  organic 
connection  between  the  character  and  the  setting.  A  more  accurate  state- 
ment is  that  of  Greinz: 

Nirgends  finden  wir  bei  ihm  das  Bestreben  uns  in  groszeren  Schilderungen 
ein  Bild  der  Zeit  zu  geben,  sondem  dieselbe  entwickelt  sich  frei  und  unmittelbar 
aus  dem  Charakter  der  handelnden  Personen,  den  Handlungen  derselben  und 
gliicklich  gewahlten,  scheinbar  nur  absichtslos  skizzierten  Nebenumstanden.3 

Again,  another  writer  says: 

AUes  ist  bei  ihm  auf  die  Handlung  abgesehen  ....  es  ist  blosz  die  Psycholo- 
gie  der  Handlung,  auf  die  es  ihm  ankommt.'* 

I  Stoessl,  op.  cit.,  pp.  26,  27. 

»  Langmesser,  op.  cit.,  pp.  122,  123;  letter  of  May  i,  1881.  Cf.  also  Saitschik,  op. 
cit.,  p.  304:  "Einen  unvergleichlich  scharferen  und  iiberwaltigenderen  Ausdruck  erhalt 
der  Kampf  des  Individuellen  mit  den  gesetzmaszigen  Sitten  der  Gesellschaft  in  den  No- 
vellen, Die  Richterin  und  Die  Hochzeit  des  Monchs.  Meyer  behandelt  hier  Probleme, 
wie  sie  nur  im  Kopfe  eines  Shakespeares  auftauchen  konnten.  Diese  scharf  gemeiszelten 
Gestalten,  diese  verwickelten  Seelenkampfe,  diese  dramatische  Auffassung  der 
Kollision  stehen  uniibertroffen  in  der  modernen  Literatur.  Meyer  hat  hier  die  geheim- 
sten  und  verworrensten  Falten  der  menschlichen  Seele  mit  einem  tiefbohrenden 
Spaherblicke  durchforscht.  Er  musz  sich  selbst  alle  diese  KolHsionen  durchgekampft 
haben,  ehe  er  sie  mit  solcher  packenden  Wahrheit  wiedergeben  konnte." 

3  Greinz,  op.  cit.,  pp.  141,  142.  4  Saitschik,  op.  cit.,  p.  216. 


4     TECHNIQUE  IN  KONRAD  FERDINAND  MEYER's  NOVELLEN 

This  is  the  same  as  saying  that  Meyer  is  concerned  primarily  with  the 
characters;  for  it  is  on  them  that  the  "Psychologic  der  Handlung,"  i.  e., 
the  motivation,  rests. 

But  the  final  word  is  spoken  when  the  author  describes  his  own  method 
of  work: 

Wenn  ich  eine  Novelle  schreiben  will,  besteht  die  erste  Arbeit  darin,  den 
Stoflf,  der  behandelt  warden  soil  und  der  sich  in  allzugroszer  Fiille  aufdrangt, 
ziemlich  genau  abzugrenzen.  Den  so  eingeengten  StoflF  mochte  ich  am  liebsten 
mit  einem  Ackerfeld  vergleichen.  Dieses  musz  gepflugt  werden,  und  das  ist 
sodann  die  Hauptarbeit,  das  Erdreich  dergestalt  zu  durchwiihlen  und  zu  pfliigen, 
dasz  die  Bedingungen  einer  moglichst  hohen  Ertragsfahigkeit  erfiillt  sind,  und 
dasz  kein  allfallig  vergrabener  Schatz,  auch  nicht  das  kleinste  Kleinod  entgeht. 
Bei  dieser  Art  von  Tatigkeit  kommen  mir  die  historischen  Personen  mit  der  Art 
ihres  Denkens,  mit  den  Anschauungen  ihrer  Zeit,  mit  ihrem  Fuhlen,  ihren 
Schwachen,  ihren  Leidenschaften  raenschlich  naher.  Die  kleinen  Ziige,  die 
wir  oft  zufallig  finden,  haben  manchmal  den  groszten  Wert;  sie  machen  uns 
vielfach  darauf  aufmerksam,  dasz  gewisse  Handlungen  geschichtlicher  Personen, 
die  uns  zu  ihrem  sonstigen  Charakter  nicht  zu  passen  scheinen,  aus  andem 
Motiven,  als  den  durch  die  Zeitgeschichte  ihnen  zugeschrieben,  hatten  herflieszen 
konnen,  und  die  blosze  Moglichkeit  geniigt  dem  Dichter — denn  dazu  hat  er  ein 
Recht — beispielsw.  seinem  Helden  seiche  andere,  aus  seiner  ganzen  geistigen 
Individualitat  begreifliche  Beweggriinde  unterzuschieben  und  ihn  dadurch  zu 
individualisieren.^ 

Meyer's  favorite  theme  is  the  study  of  problematic  characters,   of 
personalities  in  which  opposing  forces  fight  for  the  ascendency,  a  theme 
previously  expressed  in  Hutten  in  the  words: 
ich  bin  kein  ausgekliigelt  Buch. 
Ich  bin  ein  Mensch  mit  seinem  Widerspruch. 

If  not  a  conflict  of  dififerent  emotions  in  the  same  individual,  the  theme 
becomes  the  struggle  of  the  individual  personality  either  alone  or  as  one 
of  a  class  against  opposing  forces  of  higher  power,  prevailing  customs  or 
conditions.  Thus,  in  many  instances  Meyer  presents  the  principle  of 
individual,  religious,  or  national  freedom.  Life  demands  strength,  and  the 
individual  must  bring  to  expression  those  impelling  forces  he  feels  within 
him.  If  there  is  failure  to  attain  the  desired  goal,  it  is  because  of  some 
hidden  element  of  weakness,  which,  revealed,  furnishes  an  explanation  of 
the  character's  final  insufiiciency.  Thus  each  of  his  stories  presents  a 
universal  ethical  problem  such  as  must  form  the  foundation  of  every  great 
literary  work. 

We  may  contrast  Meyer's  method  with  that  of  Tourgenieff  who,  it  is 

I  Frey,  op.  cit.,  p.  283. 


INTRODUCTION  5 

said,^  started  with  his  characters  and  queried  what  he  could  make  them 
do.  To  a  certain  extent  the  actions  of  Meyer's  characters  are  already- 
determined.  He  asks  how  they  came  to  do  what  they  did.  The  result 
is  a  species  of  motivation  which  shows  keen  observation  and  sympathetic 
insight  into  the  workings  of  the  human  mind  and  hidden  springs  of  character. 
His  ability  to  read  character  and  to  win  the  confidence  of  those  with  whom 
he  came  in  contact  was  remarkable.^ 

1  James,  Partial  Portraits,  pp.  314,  315. 

2  "Dabei  hatte  er  eine  wunderbare  Feinfiihligkeit  f iir  das  jedem  Menschen  Eigen- 
tiimliche.  Trat  ihm  eine  komplizierte,  problematische  Personlichkeit  entgegen,  so 
machte  es  ihm  ein  sonderliches  Vergniigen,  den  Kern  ihres  Wesens  zu  ergriinden.  Und 
merkwiirdig,  dem  Seelenkundigen  enthiillten  auch  sonst  verschlossene  Menschen  ihr 
Inneres." — Langmesser,  op.  cit.,  p.  115. 

"Hirten  und  Matrosen,  Professoren  und  Gelehrte  der  verschiedensten  Facher, 
Kantonsrate  und  Nachbarn  vom  ziircherischen  Seeufer  kehrten  ihm  gegeniiber  ihr 
Inneres  heraus,  verwickelten  sich  unversehens  in  Lebensfragen  oder  erzahlten  ihm 
seltsame  Stiicke  ihrer  eigenen  Biographie.  Jeder  eigentiimliche  Zug  interessierte  ihn 
und  erweckte  in  ihm  unabweislich  den  kiinstlerischen  Trieb,  sich  daraus  den  ganzen 
Menschen  deutlich  auszubilden." — Betsey  Meyer,  op.  cit.,  pp.  2,  3. 


II.    CHARACTERIZATION 

CLASSES   OF   CHARACTERS 

Central  character. — Knowing  Meyer  to  have  so  strong  an  interest  in  the 
individual  personality,  it  is  not  surprising  to  find  that  he  limits  the  main 
characters  in  each  Novelle  to  a  very  small  number.  Each  story^  contains 
a  central  character,  a  hero  or  a  heroine,  to  whom  the  other  characters  are 
related.  Sometimes,  in  a  case  where  two  characters  are  contrasted  with 
one  another  or  when  the  relations  between  two  characters  form  the  main 
theme,  the  two  characters  seem  to  be  of  almost  equal  rank,  as,  for  example, 
Auguste  Leubelfing  and  Gustavus  Adolphus  in  Gustav  Adolf s  Page. 

The  central  character  is  not  always  "das  Auge  durch  welches  der 
Autor  die  Welt  sieht."^  In  the  frame-stories  the  story-teller  fills  this 
office,  and  in  Jiirg  Jenatsch,  Waser  is  an  interpreting  character.  "Zwar 
finden  wir  ihn  kaum  als  treibende  Kraft,  aber  stets  als  verstandnisvollen 
Zuschauer,"  says  Sahr.^  His  presence  and  judgment  help  to  rationalize 
those  experiences  which  are  held  by  the  credulous  to  have  a  supernatural 
origin.  He  alone  appreciates  the  hidden  impulse  from  which  all  Jurg's 
actions  spring.  "In  einem  Stiicke  wenigstens  uberragt  Georg  Jenatsch 
unsere  groszten  Zeitgenossen — in  seiner  iibermachtigen  Vaterlandsliebe. 
.  .  .  .  Sie  ist  der  einzige  iiberall  passende  Schliissel  zu  seinem  vielgestalti- 
gen  Wesen."4  But  the  central  character  is  the  bearer  of  the  idea  of  the 
piece.  Thus,  in  Jiirg  Jenatsch,  we  have  a  study  of  a  powerful  character 
torn  by  strong  conflicting  emotions,  patriotism,  loyalty,  love,  and  revenge. 
The  hero  changes  from  a  sturdy,  straightforward,  fearless  lad  into  a  mur- 
derer and  traitor,  but  moved  by  the  sole  desire  of  freeing  his  country  from 
a  foreign  yoke.  Yet  such  deeds  are  shown  to  meet  the  reward  they  merit, 
no  matter  what  the  motive.  Meyer  considered  Jenatsch  a  scoundrel,  but 
he  has  shown  how  a  man  with  Jenatsch's  natural  tendencies  and  in  his 
circumstances  could  so  change,  and  through  him  Meyer  has  illustrated 
his  Own  ethical  views. 

1  As  there  is  no  English  equivalent  for  the  German  term,  Novelle,  the  words 
story,  novel,  etc.,  will  be  indiscriminately  alternated  with  the  German  word  for  the 
sake  of  variety.  In  the  discussion  of  the  classification  of  Meyer's  narratives  as 
Novellen,  the  German  word  is  preserved  throughout. 

2  Spielhagen,  Beitrdge  z.  Technik  des  Romans,  p.  72. 

3  Sahr,  op.  cit.,  p.  7. 

4  Jiirg  Jenatsch,  pp.  327,  328. 

6 


CHARACTERIZATION  7 

Main  and  subordinate  characters. — It  was  necessary  to  introduce  in 
Jiirg  Jenatsch  other  characters  to  bridge  the  gulf  between  Jenatsch's  tower- 
ing figure  and  those  whom  his  profession  made  his  associates.  Neverthe- 
less, of  the  characters  so  introduced,  only  two  others  may  be  called  main 
characters,  Lucretia  and  Rohan.  They  are  the  heroine — the  woman 
whom  Jenatsch  loves  and  whose  love  for  him  helps  the  reader  to  appre- 
ciate the  good  qualities  he  possesses  in  spite  of  his  sins — and  the  man 
against  whom  Jenatsch  sins  most  deeply.  All  the  other  characters  belong 
to  a  group  subordinate  to  one  of  these  three  main  characters. 

In  Das  Amulet,  the  only  Novelle  published  previous  to  Jiirg  Jenatsch, 
there  is  not  the  same  limitation  in  the  number  of  main  characters  and 
concentration  on  the  central  figure.  The  germ  of  this  story  is  the  group  of 
incidents  connected  with  the  medal  of  the  Virgin  which  saves  an  unbelieving 
Protestant  but  not  the  devout  Catholic.  It  tells  the  events  of  the  days 
immediately  preceding  and  including  the  Massacre  of  St.  Bartholomew's 
Day.  The  real  essence  of  the  story  is  the  struggle  of  the  Protestants  foi^ 
liberty  of  worship.  The  hero  is  ignorant  of  the  state  of  affairs  in  the  capital 
city.  His  experience  must  be  broadened,  he  meets  many  people  who  are 
representatives  of  many  different  classes,  he  learns  of  the  intrigues  of  the 
court  and  of  Coligny's  great  plans.  Some  of  his  knowledge  comes  to  him 
through  his  friend  Boccard.  These  two  are  the  main  characters.  Yet  the 
other  characters  are  given  a  broad  treatment,  causing  the  interest  to  be  di- 
vided. Meyer's  purpose  was  to  illustrate  the  spirit  of  the  time  from  all  points 
of  view.  Thus  we  find  such  different  figures  as  Montaigne  and  Pater  Pani- 
garola.  But  the  figure  of  Coligny  and,  in  a  lesser  degree,  the  reminiscences 
of  his  brother  Dandelot,  dominate  the  story. 

To  see  how  Meyer  mastered  the  problem  of  infusing  the  life  of  the  period 
into  his  story  and  at  the  same  time  concentrating  the  interest  on  the  central 
character  unknown  to  history,  we  have  but  to  refer  to  Die  Leiden  eines 
Knaben.  Meyer  never  reverted  to  the  manner  of  Das  Amulet  after  having 
mastered  the  problem  of  concentration  in  Jurg  Jenatsch.  ''Er  begniigt 
sich,  nur  wenige  Personen  in  die  Handlung  seiner  Novellen  einzufuhren; 
was  ihm  nicht  individuell  genug  erscheint,  laszt  er  einfach  weg."^  This 
aspect  of  form  is,  then,  but  a  means  of  emphasizing  the  individual  element. 

Simple  and  complex  characters. — The  number  of  minor  figures  pre- 
sented in  the  Novellen  is  remarkable.  There  are  kings  and  queens,  lesser 
rulers,  diplomats,  scholars,  poets,  physicians  and  priests,  ladies  and  cour- 
tiers, soldiers,  men  and  women  of  other  classes,  servants,  peasants,  fools, 
bandits,  the  aged  and  youth  of  every  rank — princes,  pages,  girls  of  the 

^  Saitschik,  op.  cit.,  p.  273. 


8     TECHNIQUE  IN  KONRAD  FERDINAND  MEYER'S  NOVELLEN 

Swiss  mountains  and  of  the  Italian  courts,  sailor  boys,  school  boys,  and 
a  merchant's  son — orientals,  and  representatives  of  no  less  than  nine 
European  countries.  Each  one  helps  to  throw  light  on  the  chief  character. 
Of  such  a  large  number  it  is  evident  that  but  few  can  be  selected  for 
intensive  psychological  study.  The  number  of  complex  characters  is 
small;  those  characters  not  so  closely  studied,  remaining  simple  rather 
than  manifesting  problematic  natures. 

~:^''  Developing  or  self-revealing  characters. — Again,  while  Meyer  wished 
to  show  how  the  characters  came  to  do  what  they  did,  he  was  aware  that 
in  the  majority  of  cases  people  simply  reveal  certain  traits  which  are  latent 
in  their  natures  rather  than  express  a  definite  change.     Accordingly,  we 

"^  find  that  many  of  the  complex  characters  reveal  themselves,  but  that  very 
few  really  show  a  change  during  the  progress  of  the  story.      I  Hmit  these 

y  i  few  to  Jenatsch,  Astorre  {Die  Hochzeit  des  Monchs),  and  Giulio  {Angela 
Borgia).  We  follow  Jenatsch's  development  from  Waser's  recollection  of 
him  as  a  lad  at  school  through  his  experience  as  a  Protestant  pastor,  as  a 
soldier,  and  as  the  chief  representative  of  his  countrymen.  Die  Hochzeit  des 
Monchs  shows  us  Padua  in  the  time  of  Ezzelino  da  Romano.  The  motif 
is  the  story  of  a  monk,  Astorre,  compelled  by  piety  to  renounce  his  vow. 
He  thus  becomes  faithless  to  himself  more  than  to  the  church  which  he 
forsakes.  Having  broken  one  vow,  it  seems  easy  to  break  still  others. 
He  deserts  the  woman  he  is  pledged  to  marry  for  another  whom  fate  has 
brought  once  more  across  his  path.  The  downfall  of  a  noble  and  pure 
spirit  is  portrayed,  with  its  pernicious  influence  upon  the  people  whose  edi- 
fication the  monk  had  once  been.  Thus  the  one  step  taken  by  the  monk 
brings  a  train  of  calamities,  all  originating  in  the  effect  of  the  act  on  the 
monk's  character.  Giulio  d'Este  in  Angela  Borgia  is  bhnded  by  his 
brother,  the  Cardinal  Hippolyte,  who  is  jealous  of  Angela's  admiration  of 
Giulio's  eyes.  When  Giulio  hears  from  Angela  of  her  share  in  his  mis- 
fortune, he  rashly  joins  in  a  conspiracy  against  another  brother,  the 
reigning  duke.  He  is  seized,  tried,  and  condemned  to  death.  At  last, 
the  Cardinal,  urged  by  his  conscience,  intercedes  for  Giulio,  whose  sentence 
is  changed  to  imprisonment.  Under  the  influence  of  Angela,  who  is 
burdened  by  a  sense  of  her  share  in  his  misfortune  and  marries  him,  and 
because  of  the  years  of  imprisonment  necessarily  spent  in  reflection  on  the 
past,  resignation  and  moral  purpose  are  developed  in  the  character  of  Giulio. 

'  On  the  other  hand,  in  Meyer's  story  of  such  a  complex  character  as  that 

of  Thomas  Becket  in  Der  Heilige,  the  author  does  not  show  Becket  to  us 
as  a  developing  character  as  much  as  a  man  about  whom  we  are  constantly 
learning  more  facts  which  illumine  what  we   previously  knew  of   him 


CHARACTERIZATION  9 

and  prepare  us  for  future  events.  His  mother  was  a  Saracen  and  his 
father  a  Saxon.  He  himself  is  the  Norman  king's  trusted  counselor 
and  friend,  officially  his  chancellor.  The  king  wrongs  him  grievously  by 
robbing  him  of  his  most  precious  treasure,  his  daughter  Grace  (Gnade). 
Becket's  diplomatic  talents  are  so  great  that  the  king  elevates  him  to  the 
primacy.  The  king  wishes  to  have  as  the  head  of  the  church  one  who  will 
also  advance  the  highest  interests  of  the  state.  Becket's  oriental  instincts 
appear  in  his  devotion  to  the  master  he  serves,  and  when  he  becomes  head 
of  the  church,  he  works  for  her  interests  as  opposed  to  those  of  King  Henry. 
Moreover,  the  power  he  now  holds  is  supreme,  and  he  is  tempted  to  use  it 
'to  satisfy  his  oriental  implacability.  Thus  the  event  of  Grace's  death  has 
not  produced  a  change  in  Becket's  character,  but  has  brought  to  light  traits 
which  have  heretofore  been  inactive. 

Abnormal  characters. — Although  Meyer  was  interested  in  problematic 
characters,  he  did  not  turn  his  attention  to  the  study  of  abnormal  charac- 
ters. But  few  examples  of  this  class  are  to  be  found  in  the  Novellen: 
Charles  IX  in  Das  Amulet,  Agostino  and  Blasius  Alexander  in  Jurg 
Jenatsch,  Olympia  in  Die  Hochzeit  des  Monchs,  and  Ferrante  in  Angela 
Borgia  complete  the  list.  But  how  vividly  are  the  indecision  of  Charles, 
the  fanaticism  of  Alexander,  Ferrante's  lack  of  principle,  the  rapid  alter- 
nations of  Olympia's  lucid  and  frenzied  states  portrayed! 

Individ^ual  or  typical  characters. — Meyer's  characters  are  individual. 
He  has  made  them  concrete  and  real.  His  understanding  of  the  manifold 
aspects  of  human  nature  finds  adequate  and  sympathetic  expression.  His 
differentiation  of  the  four  brothers  d'Este  in  Angela  Borgia  may  serve  as 
an  example  of  his  talent  in  this  direction,  as  well  as  the  portrayal  of  the 
characters  mentioned  in  the  preceding  paragraph.  He  makes  each 
character  an  individual  by  first  taking  into  consideration  the  influences 
of  heredity  and  environment,  by  a  study  of  the  motives  which  govern 
the  acts  of  the  characters  in  particular  instances.  The  character  may 
be  passionate  like  Jenatsch,  subtle  like  Becket,  conscientious  and  talented, 
though  slightly  pedantic,  like  Waser,  manifesting  the  traits  of  a  tyrant 
in  embryo  hke  Ezzelin,  or  born  with  a  talent  for  intrigue  like  Morone 
— not  one  is  distorted  into  a  caricature.  That  is,  no  one  of  these  person- 
ages, however  real  his  presence,  fails  to  exhibit  such  typical  qualities  as  are 
essential  to  the  normal  human  being.  ^ 

'  "If  the  personage  be  drawn  as  to  convey  a  vivid  sense  of  reality,  his  individual 
characteristics  will  be  firmly  outlined;  and  if  he  gives  to  the  reader  an  impression  of 
moral  unity,  there  is  little  doubt  that  he  will  in  the  true  sense  contain  the  type.  For 
the  type,  so  far  as  it  is  of  any  artistic  value,  is  implicit  in  the  individual." — Bliss  Perry, 
op.  cit.,  p.  123. 


|y 


lO         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

jl  Female  characters. — Meyer's  female  characters  are  divisible  into  two 

groups.  Those  in  the  one  group  are  dominated  by  a  strong  purpose  and 
show  firmness  in  executing  it.  Having  once  entered  upon  a  course  of 
action,  they  carry  it  through  to  the  end,  even  if  the  so  doing  may  involve 
the  greatest  sacrifice,  that  of  life.  The  "Richterin"  Stemma  is  an 
example  of  this  group,  and  also  Angela  Borgia,  who  by  her  strong  moral 
nature  is  able  to  conquer  all  opposition.  The  other  group  of  women  com- 
prises those  with  less  defined  characteristics.  They  are  charming  but 
shadowy  creatures,  beautiful,  and  winning  the  affection  of  brave  men, 
though  not  performing  any  definite  action.  Their  simplicity  is  their  chief 
charm.  The  women  of  the  former  group  are  they  whose  complete  por- 
trayal was  a  primary  concern  of  the  author.  When  the  female  characters 
fl  do  not  have  one  of  the  chief  roles  to  play,  they  are  sketched  in  more  lightly, 
yt     the  author's  attention  always  being  given  to  the  enigmatical  personahty. 

METHODS   OF   PORTRAYAL 

Circumstantial  description. — The  Novellen  rarely  contain  circumstan- 
tial descriptions.  Among  the  most  detailed  is  that  of  the  abbess 
in  Plautus  im  Nonnenkloster:  "In  der  weiszen  Kutte  mit  dem  hochge- 
roteten  Gesichte,  den  dumm  pfiffigen  Aeuglein,  dem  kaum  entdeckten 
Stulpnaschen  und  dem  davon  durch  einen  ungeheuern  Zwischenraum 
getrennten  bestialischen  Munde."^  Here  we  behold  without  comment 
on  the  part  of  the  author  the  physical  embodiment  of  the  inner  traits  to 
be  revealed.  Poggio,  the  speaker  of  the  preceding,  is  thus  portrayed: 
"Ein  scharf  geschnittener,  greiser  Kopf;  an  dessen  beredten  Lippen  die 
Aufmerksamkeit  der  lauschenden  Runde  hing.  Der  Ausdruck  dieses 
geistreichen  Kopfes  war  ein  seltsam  gemischter:  iiber  die  Heiterkeit  der 
Stim,  die  lachelnden  Mundwinkel  war  der  Schatten  eines  triiben  Erleb- 
nisses  geworfen."^  This  is  more  suggestive  of  the  inner  nature  of  the 
man  than  furnishing  details  from  which  an  accurate  picture  could  be 
made.  The  strange  figure  of  the  Swiss  in  Die  Versuchung  des  Pescara 
is  described  quite  minutely  as  he  is  reproduced  in  the  painting  over  the 
altar:  "Der  auf  einem  Stiernacken  sitzende  Kopf,  kleine,  blaue,  krystall- 
helle  Augen,  eingezogene  Stumpfnase,  grinsender  Mund,  blonder,  krauser, 
knebelbart,  braune  Farbe  mit  rosigen  Wangen,  Ohrringe  in  Form  einer 
Milchkelle,  und  ein  aus  Redlichkeit  und  Verschmitzheit  wunderlich 
gemischter  Ausdruck."^      The  last  particular  gives  the  essence  of  the 

I  Plautus  im  Nonnenkloster,  p.  229. 

»  Ibid.,  p.  217. 

3  Die  Versuchung  des  Pescara,  p.  i8o. 


CHARACTERIZATION  II 

man's  character.  We  have  this  description  because  we  are  to  meet  the 
man  again  and  recognize  him  by  his  appearance.  Aside  from  these  ex- 
amples, only  the  descriptions  of  Coligny  in  Das  Amulet  and  of  Fagon  in  Die 
Leiden  eines  Knaben  are  circumstantial,  the  reason  being  that  they  are 
interesting  figures.  But  it  is  the  minor  figures  that  receive  the  greatest 
amount  of  circumstantial  description,  the  main  figures  being  described 
by  their  inner  traits  of  character. 

Colored  by  inner  character. — As  a  rule  the  external  characterization  is 
colored  by  the  idea  which  the  character  represents.  An  excellent  illustra- 
tion of  this  is  the  description  of  the  burgomaster  in  Jiirg  Jenatsch: 

In  der  Mitte  der  Ratsherm  fiel  der  Amtsburgermeister  Meyer  als  wahrhaft 
imposante  Erscheinung  ins  Auge.  Nie  hatte  eine  biirgermeisterliche  Kette  mit 
ihrer  groszen  runden  Schaumiinze  bequemer  gelegen  und  selbstzufriedener 
geleuchtet,  als  die  auf  seiner  breiten  Brust  ruhende;  nie  hatten  ein  seidener 
Strumpf  und  ein  Rosettenschuh  knapper  und  schoner  gesessen  ais  heute  an  seinem 
wohlgebildeten,  feierlich  vorgesetzten  Beine.  Bei  naherer  Betrachtung  jedoch 
verriet  die  Befangenheit  des  gewohnlich  gesunden  und  ruhigen  Gesichts  und  der 
bangliche  Ausdruck  der  irrenden  Augensteme  einen  geheimen  Widerspruch  seines 
Innem  mit  der  magistralen  Sicherheit  seiner  voUkommenen  Haltung.' 

Further  reference  may  be  made  to  Waser  whom  Meyer  has  drawn  with 
great  care.  As  he  comes  on  the  scene  from  time  to  time,  we  see  the  changes 
in  his  outward  bearing  with  just  those  features  in  the  brightest  light  which 
reveal  his  mental  attitude.  At  first  he  is  a  simple  citizen  at  the  beginning 
of  his  upward  career. 

Er  trug  stadtische  Tracht,  und  was  er  auf  sein  Felleisen  geschnallt  hatte, 
schien  ein  leichter  Ratsdegen  und  ein  Ratsherrenmantelchen  zu  sein.  Dennoch 
scbritt  er  jugendlich  elastisch  bergan  und  schaute  sich  mit  schnellen  klugen 
Blicken  in  der  ihm  fremdartigen  Bergwelt  um.* 

Jenatsch's  impression  of  his  former  friend  is  favorable. 

Jenatsch  seinerseits  war  von  der  fertigen  und  saubem  Erscheinung  seines 
ziircherischen  Freundes,  der  mit  klug  bescheidenen  Blicken,  doch  in  seiner  Weise 
sicher  vor  ihm  stand,  sichtlich  befriedigt,  und  oflFenbar  erfreut,  mit  einem  Vertreter 
stadtischer  Kultur  in  seiner  Abgeschiedenheit  zu  verkehren.3 

The  suggestion  of  pedantry  in  Waser's  nature  appears  next,  as  he  visits 
St.  Mark's  with  Rohan  and  the  duchess. 

Leicht  zu  erkennen  an  seinem  vomehmen,  hagern  Wuchs  und  der  wurde- 
vollen,  aber  anmutigen  Haltung  war  der  mit  calvinistischer  Schlichtheit  in  dunkle 
Stoffe  gekleidete  Herzog.  Die  schlanke  Dame,  die  er  fiihrte,  war  nach  alien 
Seiten  in  bestandiger  Bewegung.     Jetzt  neigte  sie  sich  gefallig  einem  kurzen 

I  Jurg  Jenatsch,  p.  287.  »  Ibid.,  p.  5.  3  Ibid.,  p.  41. 


12         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

untersetzten  Herrn  zu,  der  ihr  mit  einiger  Gravitat  die  gotische  Architektur  des 
Doms  zu  erklaren  bestrebt  war.^ 

The  contrast  between  Waser  and  Grimani  is  effective: 

Zwei  Mannergestalten  in  Staatstracht,  die  sich  in  ausdrucksvoUer  Silhouette 
vom  hellen  Hintergrunde  der  glanzend  erleuchteten  Halle  abhoben.  Die  eine 
zeigte  den  feinen  Bau  und  die  ruhige,  geschmeidige  Bewegung  des  vornehmen 
Venetianers,  die  andere,  von  behaglicher  Fulle  und  deutschehrbarem  Ansehen, 
weigerte  sich  mit  etwas  kleinstadtischer  Hoflichkeit  den  Vortritt  zu  nehmen.^ 

Lastly,  we  see  him  wearing  the  highest  honors  of  his  native  city: 

Ein  Ilauch  von  Jugendlichkeit  schwebte  auf  seinen  vom  Gastmahle  geroteten 
Ziigen,  deren  friihere  bewegliche  Feinheit  sich  zum,  behabigen  Ausdruck  einer 
wohlwollenden,  aber  ans  Schlaue  streifenden  Klugheit  ausgepragt  hatte.^ 

External  description  suggestive  and  cumulative. — The  external,  then, 
as  well  as  the  inner  characterization  is  suggestive  and  cumulative,  the  two 
always  going  hand  in  hand.  Attention  is  called  only  to  a  few  salient  points 
with  the  point  of  view  clearly  fixed.  The  facts  given  the  reader  regarding 
Jenatsch's  appearance  leave  much  to  the  imagination,  but  they  are  suffi- 
cient to  show  his  outer  aspect  in  harmony  with  his  character.  As  a  boy 
he  has  a  "breit  ausgepragte  Stirn  und  kraftige  Handgelenke."  Later  we 
hear  of  his  "eiserne"  or  "wuchtige  Faust,"  "starke,"  "kraftige,"  "feste 
Hand,"  his  "eiserne  Stirn,"  "seine  breite  Brust"  and  "athletische  Gestalt;" 
he  is  "ein  Kriegsmann  von  gewaltiger  Statur  und  herrischem  Blicke,"  a 
"Holofernesgestalt,"  "der  staathche  Fremde;"  his  shoulder  is  "machtig 
gebaut,"  his  face  is  bronzed,  and  his  voice  is  powerful.  "Sein  gewaltiger 
Korperbau  und  sein  feuriges  Antlitz  machten  ihn  noch  immer  zum 
Machtigsten  und  Schonsten  unter  alien."  After  his  return  to  Biinden,  his 
presence  is  recognized  by  the  sight  of  a  "  Scharlachkleid "  and  a 
"hochragende  blaue  Hutfeder."4 

Physiognomy. — Physiognomy  plays  its  part  as  a  means  of  character- 
ization. Hans  has  an  "energische  Stirn,"  a  "breit  vorragende  Stirn," 
"feste  eckige  Zlige,"  and  "funkelnde  Augen."  These,  together  with  his 
"feste  Gestalt"  and  "kriegerische  Haltung,"  show  his  outward  appearance 
to  be  in  harmony  with  his  "Treue"  and  his  reputation  as  a  "  verlaszHcher 
Mann."  Julian,  "der  Unbegabte"  has  "wenig  Stirn."  Stemma,  who 
judges  both  herself  and  others  severely,  has  a  "strengen  Mund."  Angela 
Borgia,  who  differs  from  those  about  her  in  the  possession  of  a  sensitive 
conscience  and  the  will  to  live  up  to  its  demands,  is  thus  portrayed : 

I  Jiirg  Jenatsch,  p.  115.  '  Ibid.,  p.  141.  3  Ibid.,  p.  325. 

4  Ibid.,  pp.  14,  41,  no,  173,  256,  209  ff.,  340. 


CHARACTERIZATION  I3 

In  den  feurigen  von  flattemdem  Kraushaar  beschatteten  Augen  wohnte  Wahr- 
heit  und  auf  dera  weichen  Munde  neben  einem  kindlichen  Zuge  der  Trotz  der 
Liebe,  ja  eine  gefahrliche  Entschloszenheit.' 

References  to  the  eyes. — Indeed,  the  references  to  the  eyes  or  the  observa-  ^ 
tions  of  their  change  of  expression  are  very  many,  a  fact  which  cannot 
fail  to  strike  even  the  casual  reader.  Meyer  is  fully  aware  of  the  importance 
of  the  eye  as  the  "most  expressive  part  of  the  face"  and  as  "the  mimetic 
center  of  thought."^  It  will  be  interesting  to  note  the  statements  about  the 
eyes,  both  for  the  immediate  purpose  here,  and  to  illustrate  Meyer's  com- 
mand of  language  in  a  definite  point. 

Color. — As  regards  the  color  of  the  eyes,  they  are:  "grosze  blaue  ^ 
Augen,"  "blaue  unschuldige  Kinderaugen,"  "leuchtend  blaue  Augen," 
"wasserblau,"  and  "verklart  blaulich  schimmernden ; "  "scharfe"  or 
"schnelle  graue  Augen;"  "von  grlin  schillerndem  Blick;"  "vertrauens- 
volle  braune  Augen,"  "warmen  lichtbraunen  Augen,"  "auflfallende  dunkle 
Augen,"  "kluge  dunkle  Augen  bald  wehmutig,  bald  spottisch,  immer 
geistvoll,"  "dunkeln  mandelformigen,"  "sanft  schwermlitigen  Augen;" 
"glanzend  schwarz  und  sehr  klug,"  "grausame  schwarze  Augen."  The 
use  of  such  limiting  words  as  "unschuldig,"  "vertrauensvoll,"  "grausam," 
are  evidence  that  it  was  not  merely  the  color  that  Meyer  thought  it  worth 
while  to  tell,  but  that  he  had  made  a  distinct  association  between  the 
color  or  appearance  and  the  individuality  which  so  looked  out  upon  the  ^ 
world.  3 

Don  Giulio. — The  beauty  of  the  eyes  is  the  theme  in  Angela  Borgia.  ^ 
The  following  statements  are  applied  to  Don  Giulio's  eyes:  "Die  unver- 
gleichlichen  und  verbrecherischen  Augen;"  "seine  Augen,  die  wirklich  in  ^ 
ihrer  tiefen  Blaue  unter  dem  edeln  Zuge  der  dunkeln  Brauen  von  seltenem 
Zauber  waren;"  "in  den  Born  dieser  wunderbaren  Augen;"  "aus  den 
sanften  Augen ;"  "Deinenzauberischen  Augen;"  "Ichhatte  Gotteraugen ;" 
"  Himmelsaugen."-* 

Coligny;    Gustavus  Adolphus. — The  similarity  of   Coligny's  eyes  and 

'  Angela  Borgia,  p.  113. 

2  Raymond,  Painting,  Sculpture,  and  Architecture  as  Representative  Arts  (New  York, 
1895),  p.  167;  quoting  Mantezza,  Physiognomy  and  Expression,  epitomized  in 
Werner's  Magazine,  January  and  February,  1895. 

3  "The  beautiful  soul  plays  over  the  countenance,  unifying  all  its  wondrous  ele- 
ments into  a  symbol  of  itself.  It  concentrates  itself  in  the  eye  ....  for  when  the 
soul  would  act  directly  upon  another  soul,  it  finds  that  other  through  these  windows, 
and  the  other  shows  itself  through  the  same." — Kedney,  The  Beautiful  and  the  Sublime 
(New  York,  1880),  p.  77. 

4  Angela  Borgia,  pp.  18,  21,  22,  49,  59,  118,  149. 


14    TECHNIQUE  IN  KONRAD  FERDINAND  MEYER'S  NOVELLEN 

^  Gasparde's  "wunderbar  strahlende  blaue  Augen"  is  emphasized  in  Das 
j  Amulet.  Gustavus  Adolphus  also  has  beautiful,  though  short-sighted, 
1  eyes.  The  latter  fact  is  emphasized  to  account  for  his  failure  to  detect  the 
I  deceit  of  his  page.  Even  Jenatsch  speaks  of  this  hero  by  a  reference  to 
1  his  eyes.^ 
j^  Lucretia  Borgia. — The  color  of  Lucretia  Borgia's  eyes  was  peculiar. 

(Cf.  Blaser,  op.  cii.,  p.  119.)     Meyer  has  reproduced  this  quality,  making 
it  agree  with  his  notion  of  her  personality: 
Die  seltene  Farbe  ihrer  hellen  Augen  (p.  i). 
Ein  blelcher  Blitz  schosz  aus  ihren  blaulichen  Augen  (p.  18). 
Ihr  bleiches  Auge  erstarrte  zu  einem  Meduscnblick  (p.  27). 
Farblose  Augen  (p.  46). 

Ihre  blassen  und  doch  feurigen  Augen  schauten  grosz  und  geisterhaft  unter 
der  Kapuze  hervor  (p.  152). 

Doch  die  groszen  lichten  Augen  starrten  versteinemd,  wie  die  der  Medusa 
(p.  172). 

Die  zartblauen  Augen  brannten  feurig  (p.  182). 

Sie  starrte  den  Richter  mit  bleichen  Augen  an  und  alle  Lieblichkeit  war  von 
ihr  gewichen  (p.  190). 

Henry  II. — Every  mood  of  King  Henry  II  is  visible  in  the  expression 
of  his  eyes. 

Seine  blauen  unbeschatteten  Augen  brannten  wie  zwei  Flammen  (p.  43). 

Mit  listigen  Augen  (p.  51). 

Aus  leuchtenden  Augen  (p.  68). 

Seine  lusttrunkenen  Augen  (p.  76). 

Der  Konig  zwinkerte  schalkhaft  mit  den  Augen  (p.  126). 

Mit  freudestrahlenden  Augen  (p.  131). 

Seine  blauen  Augen  quoUen  aus  den  Hohlen  (p.  155). 

Mit  rollenden  Augen  (p.  20c). 

War  der  Herr  mit  starren,  hervorquellenden  Augen  an  mich  herabgetreten 
(p.  221). 

It  is  significant  that  Catherine  de  Medici  awaits  the  signal  for  the 
Massacre  of  St.  Bartholomew  "mit  halbgeschlossenen  Augen."  Compare 
"das  schalkhafte  Licht  der  halbgeschlossenen  Augen"^  of  Gustavus 
Adolphus  and  the  statement  that  Pescara  "schlosz  die  Augen,  wie  um 
besser  zu  belauschen."^  The  characters  meet  or  avoid  the  reproaches  and 
questions  in  the  glance  of  others.  Pfannenstiel  "beichtete  den  klaren 
braunen  Augen."     Lucretia  Planta's  eyes  "begannen  unternehmend  zu 

I  Jiirg  Jenatsch,  p.  128. 

'  Custav  Adolfs  Page,  p.  295. 

3  Die  Versuchung  des  Pescara,  p.  104. 


CHARACTERIZATION  1 5 

leuchten."^  Thus  interest,  truth,  and  judgment  are  expressed  uncon- 
sciously in  the  glance  even  of  such  wary  leaders,  and  in  each  case  in  a 
thoroughly  characteristic  way. 

Expression. — The  expression  may  be:  "feurig,"  "brennend,"  "lodemde 
Fackeln,"  "siidlich,"  "hell,"  "flammend,"  "durchdringend,"  "furchterlich," 
"trotzig,"  "lebhaft,"  ''ernsthaft,"  ''mild,"  "klar,"  "himmlisch,"  "red- 
lich,"  "streng  kritisch,"  "kaltruhig,"  "unruhig,"  "irre,"  "holde,"  "erlo- 
schen,"  "toll,"  "oflfene  stiere  Augen,"  "lachend,"  "suchend,"  "dunkeldro- 
hend,"  "unheimlich,"  "finster,"  "melancholisch,"  "mutwillig,"  "entzuckt," 
"voU  gluhender  Wonne,"  "besturzt,"  "fragend,"  "glaubig,"  "erstaunt," 
"befremdet,"  "erschrocken,"  "bewundernd,"  "unbescheiden,"  "neugie- 
rig,"  "aufgerissen,"  "teilnahmsvoll,"  "aufmerksam,"  "geiibt  und  weit- 
tragend,"  "schmerzlich,"  "tieftraurig,"  "andachtig,"  "festlich,"  "lauter," 
"selig,"  "voUer  Sonne"  (Wonne),  "sonnenhell,"  "jubelnd,"  "schwar- 
merisch,"  "erglanzenden,"  "eroberungslustig,"  "kampflustig."  These 
words  show  the  mental  attitude  of  each  personage,  and  also  Meyer's 
ability  to  represent  the  wide  range  of  conscious  and  unconscious  expression. 

Inner  characterizations:  Typical  names. — Meyer  does  not  give  his 
characters  typical  names  with  the  intent  to  reveal  thereby  their  inner  char- 
acteristics. The  use  of  the  name  of  Diana  in  Die  Hochzeit  des  Monchs  is 
the  only  example  of  such  a  correspondence  between  the  character's  name 
and  personality.  He  does  use  names  symbolically,  like  Gnade  and  Palma 
Novella.^  The  Cardinal's  bandits  in  Angela  Borgia  have  names  taken  from 
Dante,  which  fittingly  express  their  business  and  incHnations.  Malherbe, 
Lasnier,  and  Graciosus  are  compared  with  the  German  forms  of  Veit 
Unkraut,  Eseltreiber,  and  Gnadenreich.  The  author  also  makes  associa- 
tions with  the  names  of  Victoria,^  Lucretia,-*  and  Gabriel,  s  The  use 
made  of  the  name  Astorre  is  poetic:  "'Dein  Name,  Astorre,'  sagte  er  dann 
halb  scherzend,  'schmettert  wie  eine  Tuba  und  ruft  dich  zum  Kampfe 
gegen  dich  selbst.'"  ....  "Der  Mutige  (Ascanio)  begann  zu  zittern. 
'Astorre,  du  bist  mit  ihr  vermahlt.'  Der  schallvolle  Name  drohnte  im 
Echo  des  Gewolbes  wie  die  Tuba  jenes  Tages."^  By  such  means  does 
Meyer  render  his  theme  objective.  The  recaUing  of  the  monk  to  the  con- 
sciousness of  his  weakness  by  using  his  name,  the  resonant  tones  of  which 
had  already  been  commented  upon,  brings  his  situation  before  the  reader 
in  its  true  light. 

Epithets. — On  the  other  hand,  epithets  are  employed  to  such  an  extent 

^  J iirg  J enatsch,  p.  24$.  *  Jiirg  Jenatsch,  p.  145. 

'  Die  Richterin,  p.  377.  s  Die  Richterin,  pp.  346,  347. 

3  Die  Versuchung  des  Pescara,  p.  161.         ^  j)ig  Hochzeit  des  Monchs,  pp.  no,  137. 


l6         TECHNIQUE   IN   KONRAD   FERDINAND  MEYER'S   NOVELLEN 

that  they  often  seem  to  take  the  place  of  the  characters'  names.  They 
emphasize  some  prominent  trait  of  the  character  or  his  relation  to  other 
characters.  Ezzelin  is  called  "der  Tyrann"  33  times;  Wulfrin  (Richterin) 
J  is  called  "der  Hofling"  22  times;  Don  Giuho  after  the  loss  of  his  sight 
is  most  frequently  called  "der  Blinde."  The  attention  is  so  called  to  his 
condition  55  times. 

Again,  while  the  use  of  the  name  is  not  dropped  and  an  epithet  sub- 
stituted, yet  emphasis  is  often  laid  on  particular  characteristics  of  certain 
individuals.  So,  Mirabelle  {Leiden  eines  Knaben)  is  "blau"  and  "kiihl." 
Pere  Amiel  is  '*der  Nasige,"  Pere  Tellier  "der  Wolf,"  the  German  Gertrude 
(Plautus  im  Nonnenkloster)  is  "eine  Barbarin"  to  the  humanist  Poggio. 
Lucretia  Borgia  is  "die  Kluge."  However,  the  epithet  applied  to  a  given 
person  varies  according  to  the  situation.  Jenatsch  is  "geistesgegenwartig," 
"der  Gotteslasterer,"  "der  Gereifte  und  Welterfahrene,"  "der  sonst  vor 
nichts  zuriickschreckende,"  "der  Abtriinnige,"  "diesen  auf  eine  gefahrliche 
Weise  auszerhalb  aller  Regeln  Fechtenden."^ 

Sectional  and  national  traits. — The  portrait  of  Grimani  is  a  signal. 
example  of  characterization  by  sectional  traits.  He  has  "den  feinen  Bau 
und  die  ruhige,  geschmeidige  Bewegung  des  vornehmen  Venetianers."  He 
is  "dieser  Meister  der  Verstellungskunst "  and  "undurchdringlich,"  "der 
umstandliche  alte  Herr."  He  has  "des  Venetianers  grausame  Logik," 
"menschenverach tender  Scharfsinn."  When  he  speaks,  we  hear  "die  feine, 
uber  das  GewohnUche  mit  Geist  und  Anmut  hinspielende  Unterhaltung."* 
National  traits  appear  in  Serbelloni.  "Die  Haltung  dieses  Edelmannes 
war  aus  italienischer  Urbanitat  und  spanischer  Grandezza  gemischt,  aber 
nicht  zu  gleichen  Teilen,  denn  wenn  der  Herzog  Serbelloni  von  seinem 
beriihmten  Ahn,  dem  Feldherrn  Carls  V.  die  imposante  Adlernase  und  die 
diplomatische  Geschicklichkeit  ererbt  hatte,  so  war  ihm  dessen  elastische 
italienische  Menschenbehandlung  nicht  zu  Teil  geworden.  Seine  Mutter, 
die  eine  Mendoza  war,  hatte  ihm  mit  ihrem  Blute — neben  dem  rothchen 
Haar  und  der  hellen  Hautfarbe — einen  Zug  von  spanischer  Hochfahrt  und 
Unnahbarkeit  gegeben,  den  er  zu  verbergen  wuszte,  der  aber  ins  geheim 
sein  ganzes  Wesen  durchdrang."^  Heredity  is  seen  to  be  important  here, 
I     as  it  is  in  many  other  cases. 

The  Parisians  are  "ein  wildes  und  neidisches  Volk."     The  Duchess 
Rohan  is  a  French  lady  in  her  every  act.     Lucretia  Planta  may  be  dressed 
in  Venetian  fashion,  but  her  mountain  home  is  manifest  in  her  walk.'* 
I  Jiirg  Jenatsch,  pp.  162,  186,  192,  331,  307. 
a  Ibid.,  pp.  141,  155,  176,  163,  172,  153. 
3  Ibid.,  p.  300.  4  Ibid.,  p.  103. 


CHARACTERIZATION  1 7 

Lucas  has  "Jageraugen."  The  religious  parties  are  likewise  distinctly 
drawn. 

Professional  traits. — It  has  already  been  observed  how  Waser's  pro- 
fession is  discovered  in  his  outward  appearance.  Doctor  Fortunatus 
Sprecher  and  Marschall  Boufflers  are  embodiments  of  their  respective  pro- 
fessions. The  latter  is  so  absorbed  in  his  duties  that  he  neglects  the  ordinary 
obHgations  to  his  family.  His  wife  is  troubled  by  this  and  has  reason  to 
fear  for  her  son's  future.     She  says: 

Er  hat  den  Krieg  im  Kopf,  die  Grenzen,  die  Festungen Selbst  iiber 

der  Mahlzeit  ist  er  in  seine  Geschafte  vertieft.  Der  dem  Konig  und  Frankreich 
unentbehrliche  Mann  laszt  sich  plotzlich  eine  Karte  holen,  wenn  er  nicht  selbst 
danach  aufspringt,  oder  argert  sich  iiber  irgend  eine  vormittags  entdeckte  Nach- 
lassigkeit  seiner  Schreiber,  denen  man  bei  der  um  sich  greifende  Pflichtvergessen- 
heit  auch  nicht  das  Geringste  mehr  iiberlassen  diirfe.  Geht  dann  durch  einen 
Zufall  ein  Taszchen  oder  Schalchen  entzwei,  vergiszt  sich  der  Reizbare  bis  zum 
Schelten.  Gewohnlich  sitzt  er  schweigend  oder  einsilbig  zu  Tische,  mit  gerun- 
zelter  Stim.' 

Such  a  description  never  occurs  for  its  own  sake  but  because  the  develop- 
ment of  the  narrative  is  dependent  on  the  character  so  portrayed.  Julian's 
su£ferings  are  due  to  his  father's  absorption  in  his  own  afifairs  and  indifference 
to  the  welfare  of  his  son. 

Role  to  he  played. — Some  persons  are  characterized  from  the  point  of 
view  of  the  role  they  are  to  play.  Rohan  is  one  of  those.  He  fails  by  the 
very  goodness  of  his  heart  and  the  nobleness  of  his  mind.  Thus  the  epithets 
"edel"  and  "gut"  are  constantly  applied  to  him.  Indeed,  because  of  the 
prominence  given  to  this  idea,  the  last  book  of  JUrg  Jenatsch  is  called 
"Der  gute  Herzog."  The  word  "edel"  occurs  21  times;  "gut"  17  times; 
"fromm"  and  "christlich"  are  also  repeated.  His  patient  sufifering  is 
shown  in  his  outer  appearance. 

In  diesem  Augenblicke  zeigte  ihm  der  Herzog  seine  scharf  gezeichneten  Ziige 
im  Profil  und  der  Ausdruck  langgeiibter  Selbstbeherrschung  und  schmerzlicher 
Milde,  der  auf  dem  etwas  gealterten  geistvollen  Gesichte  unverkennbar  vorherr- 
schte.     [Note  the  recurrence  of  similar  sounds.] 

Ein  tieft  eingegrabener  Zug  verschwiegenen,  hoffnungslosen  Grames,  der 
peinlich  hervortrat,  wenn  der  Herzog  seinen  lautem  strahlenden  Blick  zeitweise 
senkte.^ 

But  the  duke  does  not  lose  our  sympathy  because  of  his  weakness. 
Rather,  it  is  the  very  reason  of  his  influence.     "In  Chur  war  er  der  Abgott 

I  Die  Leiden  eines  Knaben,  p.  188. 
'  JUrg  Jenatsch,  pp.  115,  217. 


1 8        TECHNIQUE  IN  KONRAD  FERDINAND  MEYER'S  NOVELLEN 

aller  Stande."'     His  death  awakens  the  deepest  sorrow  in  the  hearts  of  all 
who  knew  him. 

Dramatic  characterization. — The  dramatic  nature  of  the  characterization 
of  one  character  by  another  is  seen  particularly  in  the  fact  that  epithets  so 
applied  differ  from  those  used  by  the  author  himself.  Perhaps  the  best 
illustration  of  this  are  the  names  applied  ^to  Jenatsch.  Planta  calls  him 
"der  Unhold,"  "ein  nichtswurdiger  Bube,"  "Euer  gelehrter  Freund, 
der  Blutpfarrer."  Fausch  exclaims  "herrlicher  Jlirg"  and  "mein  Stolz." 
To  Grimani,  he  is  "heuchlerisch,"  "ruchlos,"  ''rankevoU,"  and 
"ehrsiichtig,"  while  Rohan  asserts  that  he  is  "unbandig  und  ehrlich  wie 
eine  Naturkraft."  In  Wertmiiller's  opinion,  he  is  an  ostentatious  adven- 
turer.* Jenatsch  appears  to  Sprecher  ''wie  ein  boser  Geist,"  "ein  gesetz- 
und  gewissenloser  Mensch." 

Another  fine  example  of  this  species  of  characterization  is  to  be  found 
in  the  appellations  used  concerning  Morone,  although  all  the  speakers^ 
hold  him  in  much  the  same  regard.  Sforza  calls  him  "du  unermiidlicher 
Zettler"  and  "du  Strafe  Gottes."  Bourbon  does  not  take  him  seriously, 
but  says,  "Adieu,  Pantalon,  mon  Ami !"  Even  the  Pope  whispers  to  Victoria 
Colonna,  "Morone,  Buff  one."  Moncada  deprives  him  of  all  honor, 
remarking,  "Dieser  Mensch  ist  ein  Abgrund  von  Liige,  in  welchem  der 
Blick  sich  verliert." 

Psychological. — The  inner  characterization  leaves  less  room  for  the 
imagination  of  the  reader  than  the  description  of  the  outward  appearance, 
for  Meyer  almost  invariably  reveals  the  deep-lying  psychological  forces 
which  govern  the  actions  of  his  characters.  The  figure  of  Jenatsch  illus- 
trates what  Guyau  says,  that  characters  are  not  controlled  by  a  single 
tendency  but  by  many  with  but  one  dominant,  which  is  the  diagonal  of  the 
parallelogram  of  forces.^  So  the  clue  to  Jenatsch's  character,  as  interpreted 
by  Waser,  is  his  patriotism.  The  fact  that  so  many  of  the  people  in  the 
Novellen  are  "  verschlossene  Menschen"  explains  the  difficulty  of  their 
associates  in  understanding  them.  Planta  discovers  this  quality  in  the 
boy  Jlirg.     Waser,  too,  cannot  gain  his  confidence. 

Dann  wurde  sein  Ausdruck  immer  ratselhafter,  verschlossener,  und  hartete 
sich  zur  Undurchdringlichkeit 

Aber  Waser  erfuhr  weniger  und  minder  Wichtiges,  als  er  erwartetc* 
Even  Victoria  Colonna  finds  Pescara  "undurchdringlich  und  sein  Denken 
und  Glauben  verschlossen."5   To  these  men  may  be  added  Alphonse  d'Este, 

I  Jiirg  Jenatsch,  p.  199.  4  JUrg  Jenatsch,  pp.  19,  54,  57. 

'  Ibid.,  p.  174.  5  Die  Versuchung  des  Pescara,  p.  63. 

3  Guyau,  op.  cit.,  p.  122. 


CHARACTERIZATION  IQ 

Julian,  Hans,  Wallenstein,  Moncada,  Dante,  and  even  an  unimportant 
character  like  Blauling  in  Der  Schusz  von  der  Kanzel. 

Mental  traits. — But  these  characters  are  not  merely  "verschlossen;" 
they  have  unusual  powers  of  observation  and  of  co-ordinating  their 
experiences.  Their  mental  powers  are  the  secret  of  their  attraction. 
Observe  Guicciardin's  description  of  Pescara: 

Zuerst  miissen  wir  uns  fragen:  war  ist  Pescara?  Ich  will  es  euch  sagen: 
ein  genialer  Rechner,  der  die  Moglichkeiten  scharfsinnig  scheidet  und  abwagt, 
der  die  Dinge  unter  ihrem  wahren  Wert  und  ihre  reale  Macht  zu  untersuchen 
die  Gewohnheit  hat.' 

And  Morone  says:  "Dieser  Pescara  ist  das  Ratsel  der  Sphinx."^  Thomas 
Becket  is  "der  sonst  nach  alien  Seiten  Umblickende  und  das  Keimen  der 
Dinge  Belauschende."^  Herr  Burkhard  recognizes  in  Hans  "einen  welt- 
imd  menschenkundigen,  auch  weitgewanderten  Mann  schnellen  Geistes."-* 
Jenatsch  has  "Scharfsinn"  and  is  "der  dem  Cardinal  [Richelieu]  an  kluger 
Berechnung  gleichstehende  Bundner."s  Frau  Stemma  enjoys  a  similar 
reputation  among  the  mountaineers  over  whom  she  exerts  her  sway. 

Frau  Stemma  liebt  das  Richtschwert  und  befaszt  sich  geme  mit  seiten  und 
verwickelten  Fallen.  Sie  hat  einen  groszen  und  stets  beschaftigten  Scharfsinn. 
Aus  wenigen  Punkten  errat  sie  den  Umrisz  einer  Tat  und  ihre  feinen  Finger 
enthullen  das  Verborgene.  Nicht  dasz  auf  ihrem  Gebiet  kein  Verbrechen  began- 
gen  wiirde,  aber  geleugnet  wird  keines,  denn  der  Schuldige  glaubt  sie  allwissend 
und  fiihlt  sich  von  ihr  durchschaut.  Ihr  Blick  dringt  dutch  Schutt  und  Mauem 
und  das  Vergrabene  ist  nicht  sicher  vor  ihr.  Sie  hat  sich  einen  Ruhm  erworben, 
dasz  femher  durch  Briefe  und  Boten  ihr  Weistum  gesucht  wird.^ 

But  in  each  of  these  cases,  with  the  exception  of  Pescara,  there  is  an 
inherent  weakness  in  the  character,  a  failure  to  act  or  to  hold  out  at  a  crisis, 
which  is  the  cause  of  the  final  surrender. 

Parenthetical  phrases. — By  far  the  largest  part  of  the  characterization 
takes  the  form  of  parenthetical  phrases,  somewhat  analogous  to  an  "aside" 
to  the  reader.  How  much  we  learn  of  Henry  II  from  these  explanations 
of  Hans : 

Er  war  im  gemeinen  Wesen  ein  gerechter  Mann  (p.  102). 
Denn  er  war  ein  Freund  der  Ordnung  und  der  Gerechtigkeit  (p.  120). 
Denn  Herr  Heinrich  hatte  ein  weiches  Herz  (p.  135). 

Der  kein  feines  Ohr  besasz  und  deshalb  die  geflusterten  Worte  iiberhort 
hatte  (p.  137). 

1  Ibid.,  p.  34.  ■♦  Ibid.,  p.  4. 

2  Ibid.,  p.  218.  5  JUrg  Jenatsch,  p.  213. 

3  Der  Heilige,  p.  81.  ^  Die  Richierin,  p.  288. 


20         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

Stemma  thus  speaks  of  herself:  "dennich  bin  eine  genaue  Frau."  .  .  .  . 
"Ich  bin  eine  kirchliche  Frau.  Was  ich  tue,  tue  ich  gross."^  Meyer  does  not 
enter  into  analyses  of  his  characters  but  shows  them  in  action.  Where  an 
explanation  is  necessary,  it  is  condensed  into  the  parenthetical  form,  thus 
retaining  the  dramatic  efifect  of  the  whole. 

^  Pantomime  and  gesticulation. — Pantomime  and  gesticulation  are  used 

to  reveal  the  inner  mental  states.  Gertrude  shows  her  desire  to  be  freed 
from  keeping  her  vow,  and  her  feeling  of  being  forced  into  the  narrow  limits 
of  a  monastic  cell:  "Und  sie  machte  eine  Geberde,  als  risse  oder  wickelte 
sie  sich  eine  Schlange  vom  Leibe  los."^  Note  the  desire  of  possession  in 
Krachhalder's  gesture:  "Der  Krachhalder  war  wahrend  dieser  Mitteilung 
auszerlich  ruhig  geblieben,  nur  die  Nasenflugel  in  dem  iibrigens  gelassenen 
Gesichte  zitterten  ein  wenig  und  seine  Fingerspitzen  hatten  sich  um  ein 
Kleines  einwarts  gebogen,  als  wolle  er  das  Geschenk  festhalten."^ 
Knowing  the  changeableness  of  Wertmiiller's  mood,  we  sympathize 
with  the  villager's  desire  to  make  sure  of  the  bequest.  The  significance 
of  a  probably  unconscious  expression  of  St.  Simon,  the  self-appointed 
critic  of  the  court  of  Louis  XIV,  is  seen  in  the  following:  "Das  Zucken  eines 
Paares  hochmiitiger  Brauen  verriet  mir,  wer  ihn  (den  Beinamen)  dem 
Knaben  beschert  hatte.""*  The  honest  Hans  does  not  feel  entirely  free  from 
blame  as  regards  his  relations  with  Becket,  and  shows  it  in  his  attitude 
when  beginning  his  story.  "Hans  der  Armbruster  faltete  mechanisch 
die  starken,  alten  Hande,  als  hatten  auch  sie  mit  dieser  Schaufel  gegraben."s 
Instances  of  connecting  characteristic  traits  with  certain  individuals  are 
also  to  be  observed.  Ezzelin  "wiihlte — seine  LiebHngsgeberde — mit  den 
gespreizten  Fingern  der  Rechten  in  dem  Gewelle  seines  Bartes.'"^  Morone 
"schiebt  den  Leib  auf  eine  gewisse  Weise,  die  sich  schwer  verleugnen  laszt."^ 
Hans  describes  the  laugh  of  Prince  John:  "Wie  er  lachte!  Ich  habe  Tag 
meines  Lebens,  auch  in  Schenken  und  auf  Markten,  nicht  gemeiner  lachen 
horen."  Henry  II's  love  of  justice  is  evidenced  by  his  gesture  on  hearing  a 
tale  of  wrong.  "Mein  Herr  und  Konig  ballte  seine  auf  der  Lehne  des  Stuhles 
liegende  Hand."^  These  statements  are  all  in  keeping  with  Meyer's 
concentration,  saying  as  much  as  possible  in  the  fewest  words. 

The  most  striking  delineation  of  expression  is  surely  that  of  Jenatsch's 

^  face  on  three  different  occasions:  after  Lucia's  death,  when  Wertmiiller 
tells  of  Lucretia's  danger  in  Milan,  and  again,  after  Jenatsch  has  performed 
great  services  for  his  country,  but  with  a  price  known  only  to  himself. 

1  Die  Richterin,  pp.  331,  333.  s  Der  Heilige,  p.  62. 

2  Plautus  im  Nonnenkloster,  p.  256.  ^  j)ie  Hochzeit  des  Monchs,  p.  32. 

3  Der  Schusz  von  der  Kanzel,  p.  208.  7  Die  Versuchung  des  Pescara,  p.  83. 

4  Die  Leiden  eines  Knaben,  p.  179.  8  j^gy  Heilige,  pp.  61,  128. 


CHARACTERIZATION  21 

Waser  konnte  trotz  der  Gefahr  der  Stunde  den  Blick  nicht  verwenden  von 
diesem  Nachtbilde  sprachlosen   Grimms   und  unversohnlicher  Trauer 

Das  braune  Antlitz  des  in  der  Gondel  Zuruckgelehnten,  das  er  im  Laufe  dieses 
Tages  immer  belebt  und  bewegt  gesehen  hatte  von  der  verschiedensten  Aeusze- 
rungen  eines  feurigen  Temperamentes  und  geschmeidigen  Geistes,  es  war  wie 
auserstorben  und  erkaltet  zu  metellener  Harte.  Unverwandt  staunte  es  vor  sich 
hin  auf  die  dammemd  geroteten  Wellen  und  erschien  fremdartig  verzogen  und 
drohend  in  seiner  Erstarrung 

Waser  konnte  seinen  Blick  von  der  Erscheinung  des  Jugendfreundes  nicht 
verwenden.  Er  hing  wie  gebannt  an  dem  starren  Ausdrucke  des  metallbraunen 
Angesichts.  Auf  den  groszen  Zugen  lag  gleichgultiger  Trotz,  der  nach  Himmel 
und  Holle,  nach  Tod  und  Gericht  nichts  mehr  fragte.  Das  Auge  blickte  fremd 
iiber  den  erreichten  Triumph  hinweg — welches  unbekannte  Ziel  ergreifend  ?  .  .  .  . 
Und  wieder  tauchte  dem  Biirgermeister  eine  alte  Erinnerung  auf:  der  Brand  von 
Berbenn.  Er  sah  Jiirg,  die  schone  Leiche  in  den  Amien,  mit  jenem  aus  Glut 
und  Kalte  gemischten  Ausdrucke,  den  er  nie  hatte  vergessenkonnen.' 

Jiirg  himself  is  conscious  of  not  having  attained  the  height  of  happiness 
possible  to  human  experience  and  of  being  constantly  driven  away  from  this 
goal. 

Use  of  comparisons. — Often  the  characterization  is  made  more  vivid 
by  a  comparison,  either  a  metaphor  or  a  simile.  Palma  Novella  is  called 
"diese  behende  Gems,"*  and  the  reader  sees  her  as  a  fearless  mountain  girl, 
full  of  life  and  sure  in  her  movements.  Jenatsch  has  a  "  Holofernesgestalt,"^ 
and  conducts  himself  ''wie  ein  ausschweifender  Nero."'*  Of  Coligny,  who 
tried  to  lead  his  people  safely  amidst  present  dangers  and  to  lay  plans  for  the 
future,  we  are  told  "  Er  schaute  wie  ein  Richter  in  Israel."^  Hans  describes 
the  knightly  Becket  as  "fUrstlich  wie  Konig  Salomo."*^  Possibly  the  most 
telling  are  those  comparisons  applied  to  Wertmiiller.  He  is  "eine  Brennnes- 
sel  die  keiner  unbestochen  beriihrt."'  He  "schien,  wie  ein  kampfiustiger 
Sperling  seinen  Raub,  eine  These  gegen  alle  gewandten  Angrifife  seiner 
jugendlichen  Genossen  zu  verfechten."*  Jenatsch  heeds  not  his  audacious 
remarks,  "wie  die  grosze  Dogge,  die  in  ihrer  Hiitte  liegt,  ungem,  aber  nur 
mit  leisem  Knurren  die  Neckerei  eines  unterhaltungslustigen  kleinen 
Klafifers  ertragt,  der  als  uberlastiger  Gast  zu  ihr  hineingekrochen  ist."^ 
Each  comparison  used  makes  the  figure  stand  forth  in  relief  against  the 
general  background  of  the  story.  It  is  one  of  the  author's  methods  of 
gaining  plasticity. 

I  Jiirg  Jenatsch,  pp.  80,  139,  331.  *  Der  Heilige,  p.  38. 

'  Die  Richterin,  p.  347.  7  Der  Schusz  v.  d.  Kanzel,  p.  124. 

3  Jiirg  Jenatsch,  p.  256.  8  Jurg  Jenatsch,  p.  115. 

4/Wd.,  p.  329.  9 /6iU,  p.  133. 

5  Das  Amulet,  p.  38. 


22         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

Relation  to  action:  Moral  unity. — Meyer's  experience  and  philosophy 
of  life  would  not  permit  him  to  overtook  the  necessity  of  giving  his  charac- 
ters moral  unity.  This  is  discoverable  in  the  action.  Although  we  feel 
the  charm  of  Jenatsch's  personality,  yet  we  acknowledge  the  inevitableness 
of  his  death.  He  has  overstepped  all  bounds.  On  the  other  hand,  the 
sudden  changing  of  his  mood  and  his  violence  are  accountable  for  all  his 
unusual  acts.  There  is  no  poetic  necessity.  The  course  of  his  develop- 
ment is  entirely  in  harmony  with  the  outcome.  His  death  is  felt  to  be  so 
just  a  punishment  that  no  effort  is  made  to  find  the  murderers. 

Starting-point  of  action. — The  action  springs  from  the  characters,  as 
has  been  said.  Some  find  the  fact  of  Lucretia's  kiUing  Jenatsch  incredible. 
But  this,  too,  is  in  keeping  with  her  character  as  Meyer  has  drawn  it.  Her 
father  has  been  murdered  by  the  man  she  loves.  Piety  demands  vengeance. 
Her  countrymen  expect  her  to'  execute  this.  But  her  country  needs  a 
powerful  leader,  who  is  to  be  found  in  Jenatsch  alone.  Lucretia  belongs 
to  a  family  prominent  in  the  affairs  of  the  country;  she  has  also  seen 
something  of  other  countries  and  has  experience  enough  to  know  the  value 
of  Jenatsch's  life  to  Biinden,  and  she  spares  his  life.  Now  she  begins  to 
feel  a  bond  of  union  existing  between  them.  She  listens  to  his  request  to 
go  as  his  messenger  to  the  foreign  power.  This  completes  the  link  between 
her  fate  and  his.  Although  she  still  loves  him,  she  may  not  marry  him.  His 
life  is  threatened  by  others  who  are  inferior  and  cowards.  He  belongs  to 
her  alone,  and  she,  with  her  understanding  of  the  situation  and  her  native 
courage,  saves  him  from  the  humiliation  of  meeting  death  at  their 
hands.     Thus  even  this  act  does  not  seem  to  be  a  case  of  poetic  necessity. 

Introduction  of  characters:  Prepared. — In  the  majority  of  instances 
the  first  appearance  of  the  chief  character  is  prepared  for  by  the 
dialogue  between  other  characters.  This  is  the  case  in  Jiirg  Jenatsch. 
Jurg  makes  his  appearance  somewhat  after  the  manner  in  which 
the  principal  character  of  a  drama  comes  on  to  the  stage.  We  have 
heard  from  Planta  of  his  violent  deeds,  and  overhear  with  Waser  the 
plans  against  his  hfe.  We  discover  him  sharpening  his  sword  and  singing  a 
war-song.  However,  his  bearing  at  first  is  calm  and  peaceful,  as  we  see 
him  in  his  domestic  relations.  Only  gradually  does  his  headstrong  dis- 
position manifest  itself.  When  it  does,  we  are  not  unduly  surprised  because 
this  has  been  the  keynote  struck  in  all  previous  mention  of  him.  We  watch 
the  development  of  this  trait  through  the  influence  of  untoward  circumstances 
as  it  supersedes  his  gentler  impulses.  The  same  preparation  is  found  in 
Der  Heilige.  Becket's  reputation  has  been  painted  in  glowing  colors 
before  Hans  finally  allows  us  to  see  him  on  horseback  in  the  midst  of  his 


CHARACTERIZATION  23, 

)' 

retinue.  He  is  thought  by  the  people  to  represent  the  wisdom  of  the  age,! 
and  there  is  always  the  feeling  of  aloofness  and  superiority  evident  in  his 
bearing.  The  conspirators  in  Die  Versuchung  des  Pescara  entertain  similar 
thoughts  about  Pescara.  Don  Giulio's  appearance  in  Angela  Borgia  and 
Angela's  attitude  toward  him  are  likewise  prepared  for  in  Ferrante's  mocking 
recital  of  his  brother's  history  and  in  Angela's  indignation  at  recalling 
Caesar  Borgia's  recommendation  of  Giulio  to  her.  Stress  is  laid  on  the 
fact  that  it  is  Giulio's  beautiful  eyes  that  are  his  misfortune. 

Other  characters  are  introduced  with  the  utmost  ^mplicity,  as  is  Rohan 
on  the  occasion  of  Jenatsch's  first  meeting  with  him.  He  is  not  described 
at  all.  In  fact,  the  details  given  concerning  Rohan's  appearance  throughout 
the  novel  are  exceedingly  few.  He  thus  becomes  a  greater  contrast  to 
Jenatsch,  never  being  introduced  with  a  view  to  the  efifect  his  appearance 
will  cause. 

Symbolic. — Occasionally  a  symbolic  significance  is  given  to  the  intro- 
duction of  a  character,  as  in  Angela  Borgia.  Don  Ferrante  informs  Angela 
about  the  peculiarities  of  his  brothers.  He  applies  the  name  of  "Geier" 
to  the  Cardinal.'  We  first  see  the  Cardinal  under  the  following  circum- 
stances: "Ein  schreiender  Raubvogel  erhob  sich  aus  dem  Walde  und 
kreiste  iiber  den  Wiesen.  Zugleich  rauschte  es  im  Gebiisch,  und  ein  hagerer, 
in  Purpur  gekleideter  Mann  trat  auf  Angela  zu."^  The  word  "Geier"  is 
used  in  two  other  places  with  reference  to  the  Cardinal.^  This  introduction 
is  in  harmony  with  the  presentation  of  the  Cardinal's  character  throughout 
the  book.  He  threatens  the  happiness  of  Angela,  tries  to  gain  satisfaction 
for  his  own  passion  by  an  inhuman  act  toward  his  brother,  and  is  watchful 
and  wary  in  the  conduct  of  political  intrigue. 

Abrupt. — On  the  contrary,  Jenatsch's  presence  is  revealed  to  others  dur- 
ing the  course  of  the  story  in  an  abrupt  and  somewhat  sensational  way.  They 
see  his  towering  figure  or  hear  his  resonant  voice,  neither  of  which  character- 
istics is  shared  by  any  other  personage  in  the  book.  This  emphasizes  the 
unusualness  of  his  conduct.  The  man  who  tramples  all  conventions  of 
honor  and  diplomacy  under  his  feet  and  is  possessed  by  one  idea  solely, 
must  appear  sensational  and  romantic  to  his  fellows.  Ezzelin,  the  tyrant, 
approaches  unseen  and  unheard.  It  is  his  pleasure  to  surprise  his  subjects 
in  conversation  about  himself  and  his  government.  He  thus  succeeds 
in  suppressing  criticism  and  the  expression  of  popular  sentiment.  Becket 
is  often  seen  on  horseback  as  on  his  first  appearance.  His  movements  are 
leisurely  and  deliberate,  suited  to  the  man  who  is  seldom  taken  by  surprise. 
Even  when  taunted  by  his  murderers,  he  preserves  this  air  of  calmness. 
I  Angela  Borgia,  p.  17.  »  Ibid.,  p.  31.  3  Ibid.,  pp.  51,  76. 


24         TECHNIQUE   IN   KONRAD   FERDINAND  MEYER'S  NOVELLEN 

He  is  a  fatalist,  whereas  astrology  has  no  meaning  to  Jenatsch,  who  will 
move  heaven  and  earth  to  gain  the  accomplishment  of  his  desires. 

Contrast  of  characters. — The  most  effective  method  of  characteriza- 
tion is  by  foiling.  In  Jiirg  Jenatsch  various  pairs  of  contrasting 
figures  are  to  be  observed:  Waser  and  Blasius  Alexander,  Lucia  and 
Lucretia,  Rohan  and  Jenatsch,  WertmuUer  and  Jenatsch,  Rohan 
and  Grimani,  Blasius  Alexander  and  Fausch,  Jenatsch  and  Rudolph 
Planta,  Waser  and  Pancraz.  Each  one  gains  individuaUty  by  this 
contrast.  Jenatsch  is  a  clever  military  leader  like  Rohan,  but  he 
lacks  the  latter's  self-control.  He  is  devoted  to  the  duke,  like  Wertmiiller, 
but  lacks  the  latter's  faithfulness.  He  is  not  a  coward  like  Rudolph  Planta, 
though  the  usual  interpretation  of  his  acts  makes  him  Rudolph's  equal. 

In  Plautus  im  Nonnenkloster  the  figure  of  Gertrude  is  imposing  and 
convincing  beside  that  of  the  hypocritical  abbess.  The  climax  of  Gustav 
Adolf s  Page  is  the  scene  between  Corinna  and  Auguste,  where  the  moral 
condition  of  the  two  women  is  shown  to  be  so  different.  Julian  in  Die 
Leiden  eines  Knaben  becomes  a  more  pathetic  figure  because  of  the  contrast 
between  his  lot  and  abilities  and  those  of  his  friends  Victor  and  Guntram. 
The  comments  of  Fagon  and  of  Louis  XIV  show  the  absolute  disparity  in 
their  relative  points  of  view.  We  feel  far  more  sympathy  with  Antiope 
{Die  Hochzeit  des  M'dnchs)  because  she  is  the  rival  of  the  cold  and  some- 
what bitter  Diana.  And  yet  the  scales  are  so  nicely  balanced  that  Diana 
wins  the  reader's  support  of  her  claims  on  the  ground  of  her  successive 
misfortunes  and  her  disadvantage  in  contending  with  a  woman  like  Antiope. 
Thus  does  Dante  avoid  offense  to  either  of  his  listeners,  Diana  or  Antiope. 

Angela  and  Lucretia  Borgia. — The  most  conspicuous  contrast  of  female 
figures,  however,  is  that  of  Angela  and  Lucretia  Borgia.  The  Novelle, 
Angela  Borgia,  opens  with  the  entry  of  Lucretia  Borgia  into  Ferrara  as  the 
bride  of  Alphonse  d'Este.  On  this  occasion  she  excites  the  admiration  of 
the  stern  young  jurist,  Hercules  Strozzi.  He  is  warned  by  Alphonse  of  the 
danger  of  yielding  to  Lucretia's  influence.  Nevertheless,  he  goes  to  the  aid 
of  Caesar  Borgia.  Returning  after  the  latter's  death,  he  is  urged  by 
Lucretia  to  flee,  but  he  refuses.  Angela  hears  the  cry  which  tells  of  his 
death  at  the  hands  of  the  duke's  servant.  At  the  same  time  she  learns 
that  GiuHo  d'Este,  whose  loss  of  sight  and  imprisonment  have  already 
been  mentioned,^  is  confined  in  a  near-by  tower.  Wishing  to  offer  and 
receive  sympathy,  Angela  is  astonished  to  find  Lucretia  peacefully  sleeping. 
Angela  is  secretly  married  to  Giulio  by  his  confessor,  and]  the  prince  is 
finally  set  free  through  the  intercession  of  the  conscience-stricken  Cardinal. 

I  See  above,  p.  8. 


CHARACTERIZATION  25 

Throughout  the  story  Lucretia  is  "die  Kluge,"  Angela  "die  Fromme." 
Lucretia's  character  is  the  result  of  her  environment  and  heredity;  Angela's 
rests  upon  a  certain  innate  fearless  purity  as  its  keynote.  Both  are  charm- 
ing. Lucretia  exerts  a  most  indescribable  influence  upon  those  about  her 
just  as  her  father  did  before  her.  Angela  we  know  to  have  charm,  for  we 
see  its  effect  upon  the  Cardinal,  maddened  by  his  passion,  and  upon  Giulio, 
converted  by  her  reproaches  and  her  sorrow  for  her  own  guilt  to  a  more 
temperate  manner  of  life.  She  is  upright,  sensitive,  earnest,  proud  in  the 
best  sense  of  the  word.  Lucretia's  motto  is:  "hoch  und  hoher  zu  streben 
und  durch  verborgene  Klugheit  das  Leben  zu  beherrschen."^ 

While  Angela  becomes  the  innocent  cause  of  another's  crime,  Lucretia  ^ 
just  as  involuntarily  becomes  the  tool  of  others.  She  has  not  the  strength 
to  resist  Caesar's  influence  nor  does  she  realize  the  serious  consequences 
to  follow.  Her  attitude  is  revealed  in  her  interpretation  of  the  Roman 
Tullia's  act.^  With  coolness  and  deliberation  she  sends  to  his  death  the 
man  she  has  ruined.  And  knowing  thiat  she  has  done  this,  she  can  never- 
theless retire  to  peaceful  slumber.  Angela,  who  would  fain  tell  her  cousin 
her  own  secret,  finds  her  smiling  in  her  dreams.  The  girl  recognizes  the 
difference  between  them:  "Wie  bin  ich  eine  andere!"^  are  her  words. 
Grieving  for  years  because  she  has  uttered  a  single  unconsidered  word, 
Angela  would  even  brave  the  discomforts  of  imprisonment  to  share  and 
lighten  the  lot  of  him  whose  suffering  she  has  thus  caused.  ^ 

Becket  and  Henry  II. — The  most  artistic  contrast  of  male  figures  is  that  i» 

of  Becket  and  Henry  H  in  Der  Heilige.  This  is  largely  developed  by  means 
of  symbolism.  The  tjqDical  traits  of  Becket's  character  are  his  knightliness 
and  wisdom.  He  is  often  shown  us  as  a  knight  on  his  Arabian  horse,  and 
Prince  Henry  compares  to  him  this  fine  animal  in  contrast  to  his  father  whose 
lower  instincts  are  more  prominent.  Only  once  is  a  definite  animal  symbol 
appHed  to  the  king,  and  that  very  indirectly:  "den  gewaltigen  Leib  und 
den  Lowenkopf  des  Einen,  die  feine  Gliedmaszen  des  Andem."  In 
Meyer's  exposition  of  the  motivation  of  this  book,  he  uses  the  antithesis 
"Lowe  und  Schlange."^  Yet  we  are  constantly  aware  of  the  king's  physical 
qualities  of  strength  and  power  as  opposed  to  the  mental  power  typified  by 
Becket.  The  chancellor  is  compared  to  a  serpent,  a  symbol  which  may  be 
given  two  interpretations,  as  the  symbol  of  wisdom  and  of  treachery. 
This  corresponds  to  the  basic  idea  of  Becket's  enigmatical  character.  He  is 
"ratselhaft,"  "zweideutig,"  and  "doppelsinnig."  This  contrast  of  spiritual 
and  physical  qualities  may  also  be  noticed  in  the  figures  of  Rohan  and 
Jenatsch. 

1  Angela  Borgia,  p.  233.  3  Ibid.,  p.  200. 

2  Ibid.,  p.  142.  4  See  below,  p.  31. 


26         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER's   NOVELLEN 


The  conflict  between  the  king  and  his  archbishop  coincides  to  a  certain 
extent  with  that  between  Saxon  and  Norman.  Becket  is  the  only  Saxon 
in  power.  As  a  diplomat,  he  would  not  have  the  Saxons  oppressed  too 
severely.  He  would  evade  the  appointment  to  the  primacy  through  his 
lack  of  affiliation  with  either  party.  The  king  feels  he  has  favored  Becket 
in  opposition  to  both  parties.  Tracy  says,  the  king  has  made  him  (Becket) 
from  a  Saxon  into  a  man.  On  becoming  primate,  Becket  at  once  sides  with 
the  weaker  Saxons,  and  is  willing  to  forgive  the  king  for  the  sake  of  the 
Saxons.  It  is  the  suspicions  of  the  Normans  that  make  it  impossible 
for  the  king  to  yield.  Finally,  Becket  dies  for  the  Saxons  and  works 
miracles  among  them. 

We  may  note  further  contrasts,  not  symbolic,  between  the  king  and 
Becket,  such  as  their  feelings  with  regard  to  executions,  their  manner  of 
receiving  bad  news,  and  of  meeting  their  fate.     Becket's  power  continually 
L        increases,  while  that  of  the  king  is  gradually  broken. 

/  Grouping. — Grouping,  too,  may  serve  to  emphasize  previous  impressions 
of  a  character.  Jenatsch  may  risk  his  life  and  reputation  for  B linden, 
but  we  feel  his  alliance  with  the  people  most  definitely  when  we  see  him 
in  close  touch  with  them,  joking  with  them,  advising  them,  and 
sacrificing  his  wealth  for  them.  Again,  in  order  that  our  idea  of  Gustavus 
Adolphus  may  not  be  too  incomplete,  it  is  necessary  that  we  see  him  in  his 
dealings  with  the  German  nobles. 

Self -revelation  of  the  characters  through  speech  and  acts. — The  persons 
also  reveal  their  characteristics  both  by  their  words  and  acts.  An 
instance  of  this  revelation  of  personaUty  through  speech  is  to  be  found 
in  Grimani's  opinion  of  Jurg  Jenatsch.^  The  wary,  intriguing  Venetian, 
who  mistrusts  everyone,  is  cleverly  drawn.  Becket's  power  of  winning 
all  hearts  is  exemplified  in  his  remark  to  Hans  when  examining  the  bow 
made  by  the  latter:  "Ich  liebe  das  Denken  und  die  Kunst  und  mag  es 
leiden,  wenn  der  Verstand  iiber  die  Faust  den  Sieg  davon  tragt  und  der 
Schwachere  den  Starkeren  aus  der  Feme  trifift  und  uberwindet."^  Observe, 
too,  the  forecast  in  this  remark. 

Jenatsch's  freedom  from  all  littleness  of  mind  is  manifested  in  his  advice 
to  Lucretia  to  keep  Lucas  with  her  as  a  protector.  He  knows  that  Lucas 
regards  him  with  bitter  hatred,  yet  he  says:  "Diesen  grauen  Baren  vergisz 
mir  nicht  auf  die  Fahrt  mitzunehnem,  seine  Treue  ist  alt  und  seine  Tatzen 
sind  noch  gefahrlich."^  On  the  other  hand,  he  expresses  positive  admira- 
tion for  great  characters,  as  for  Gustavus  Adolphus. ^ 

I  Cf.  Jurg  Jenatsch,  pp.  i6i  S.,  167  ff.         3  Jiirg  Jenatsch,  p.  247. 

'  Der  Heilige,  p.  44.  4  Ibid.,  p.  128. 


f,:. 


CHARACTERIZATION  27 

Germano's  lack  of  tact  and  of  aflFection  are  unconcealed  in  his  wooing 
of  Antiope:  "ohne  Vater  wie  du  bist  und  bei  einer  solchen  Mutter."^ 
Certain  characters  are  also  known  by  their  use  of  a  peculiar  expression. 
The  schemer  Wertmiiller  in  Der  Schusz  von  der  Kanzel  puts  various  mean- 
ings into  his  exclamation  of  "La,  la."*  The  comet  in  Gustav  Adolfs 
Page,  on  the  other  hand,  really  shows  the  poverty  of  his  vocabulary,  when 
he  remarks  on  all  occasions,  "Hoi'  mich!     Straf  mich!"3 

We  shall  also  find  a  relation  existing  between  the  mental  power  and  racial 
attributes  of  the  characters  and  the  figurative  language  used  or  the  assump- 
tion of  an  ironical  attitude.  Thus,  the  comparisons  used  by  Hans  are  all 
more  or  less  homely,  being  drawn  from  his  occupation  or  the  animals  and 
objects  with  which  he  is  chiefly  busied,  while  Becket's  subtler  mind,  his 
Saracen  blood  and  training,  demand  a  corresponding  eloquence  and  alle- 
gorical expression.  Standing  as  he  does  for  mental  power,  he  often  appears 
ironical  and  sarcastic.  On  the  other  hand,  Hans  makes  many  shrewd  com- 
ments on  life  and  is  fond  of  using  proverbs. 

Waser  is  characterized  by  what  he  does.  His  fastidious  neatness  is 
shown  even  at  the  moment  of  escape  from  threatening  danger.  "Herr 
Waser  aber  klopfte  den  Staub  des  Handgemenges  aus  seinen  Kleidem  und 
zog  Manschetten  und  Halskrause  zurecht.  'Pfaflfentrug !'  sagte  er,  diesem 
Geschafte  mit  Sorgfalt  obliegend."'^  His  precision  and  painstaking  appear 
in  his  attention  to  the  remarks  of  the  caretaker  at  St,  Mark's  about  the 
painting,  in  his  ofifering  his  tip  carefully  wrapped  in  paper,  and  his  preser- 
vation of  the  schoolmaster's  thesis,  which  had  been  treated  so  contemptu- 
ously. 5    In  fact,  the  treatment  of  Waser's  portrait  verges  on  the  humorous. 

The  use  of  a  single  act  as  peculiar  to  a  character  is  shown  in  representing 
Ezzelin  as  having  a  fancy  for  closing  the  eyes  of  the  dead,  the  thought  caus- 
ing the  shudder  associated  with  the  mention  of  the  tyrant's  name.  This 
was  probably  suggested  to  Meyer  by  Baron  Riccasoli's  fondness  for  attend- 
ing funerals.*^ 

Interplay  of  character. — Not  one  character  stands  forth  alone;  there 
is  constant  expression  of  fascinations  and  antipathies.  The  pictures 
of  Henry  H  and  Becket  in  sympathy  and  of  the  king  and  Becket 
in  hostility  are  vividly  drawn.  Here  we  have  a  true  case  of  tragic 
conflict  between  characters.      There  is  not  a  real  bond  of  friendship 

I  Die  Hochzeit  des  Monchs,  p.  1 20. 

"  Der  Schusz  v.  d.  Kanzel,  pp.  161,  171,  200,  201. 

3  Gustav  Adolfs  Page,  pp.  284,  349,  351. 

*  Jurg  Jenatsch,  p.  50.  s  Ibid.,  pp.  118,  123,  164. 

^  Cf.  Frey,  op.  cit.,  p.  128. 


28         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S    NOVELLEN 

existing  between  Becket  and  the  king.  The  difference  in  the  ideals 
of  the  two  men  is  too  great  for  that,  Becket's  tastes  are  more  refined 
and  Henry  enjoys  everything  that  shows  his  power  and  is  too  impatient  to 
use  the  diplomatic  methods  of  his  chancellor.  Becket  is  useful  to  him; 
therefore  he  overestimates  his  affection  toward  this  one  of  his  subjects. 
Yet  his  chancellor  or  his  primate  is  merely  chief  among  his  subjects  and  is 
not  to  oppose  a^y  measure  of  the  king's.  On  the  other  hand,  while  Becket 
works  for  the  king,  he  does  not  give  the  latter  his  confidence.  His  faithful 
performance  of  duty  is  returned  by  faithlessness.  He,  the  man  with  the 
brilliant  mind,  recognizes  now  clearly  the  breach  that  exists  between  them. 
They  have  but  been  deceiving  themselves.  Becket  fascinates  all  that  come 
in  contact  with  him,  Hans,  the  princes,  and  the  Saxons:  it  is  the  influence 
of  a  strong  character  which  inspired  so  great  faith,  that,  even  after  his  death, 
\__  he  was  credited  with  working  miracles,  and  canonized. 

Objective  presentation  versus  comment  or  analysis. — Wertmiiller  is 
hostile  to  Jenatsch  from  the  first.  He  expresses  this  in  his  letter 
to  his  cousin  in  Milan,  at  the  same  time  giving  an  insight  into  his  own 
character,  and  ridiculing  the  sentimental  duchess.''  Two  others  fail  to 
yield  to  Jenatsch' s  magnetism,  Planta  and  Grimani.  Among  the  people, 
on  the  contrary,  his  fame  "wurde  zur  Legende."  He  is  "die  schwer 
glaubliche  Sage  der  friiheren  Volkskampfe."^'  "  Auf  den  larmenden  Zunft- 
stuben  der  Handwerker  gait  damals  Jiirg  Jenatsch  als  ein  volkstumlicher 
Held,  in  den  landesvaterlichen  diplomatisch  gefarbten  Kreisen  als  ein 
gewissenloser,  blutbefleckter  Abenteurer."3  He  wins  Rohan's  unbounded 
confidence,  and  we  see  him  later  "den  niitzlichsten  Ratgeber  des  Herzogs 
und  den  Liebling  des  Volkes."^ 

A  glance  over  the  material  presented  reveals  the  use  that  Meyer  has 
made  of  all  the  means  of  characterization  known  to  novelists.  It  will  also 
be  discovered  how  very  Httle  of  this  material  could  be  classified  as  comment 
or  analysis.  But  one  division,  that  of  parenthetical  phrases,  is  of  this 
nature.  Meyer  presents  his  characters  in  action.  He  does  not  tell  us 
Jenatsch's  soul  struggles,  just  how  the  latter  brought  himself  to  betray  his 
leader  and  to  change  his  faith.  Meyer  does  not  dissect  the  personality  of 
Becket  and  name  the  elements  of  which  it  is  composed.  But  we  follow 
Becket's  devoted  service  to  his  master,  and  perceive  the  tenacity  of  his 
nature,  that  he  is  unable  to  forget  and  forgive  an  injury.  We  see  him 
act  on  the  promptings  of  inexplicable  impulses,  and  so  appreciate  the  mystery 
of  his  nature,  which  was  even  greater  in  reality. 

1  Jiirg  Jenatsch,  p.  174.  3  Ihid.,  p.  126. 

2  Ihid.,  p.  197.  4  Ihid.,  p.  252. 


CHARACTERIZATION  29 

Pescara  acts.  Knowing  that  his  death  cannot  be  long  postponed,  he 
makes  necessary  arrangements,  but  the  reader  is  not  given  a  glimpse  into 
his  heart  nor  into  that  of  his  wife  when  she  has  learned  the  truth.  , 

This  does  not  mean  that  Meyer's  characters  are  cold  and  bloodless. 
On  the  contrary,  there  is  not  one  that  does  not,  in  a  greater  or  less  degree,, 
reproduce  something  of  the  author's  own  experience.  All  show  a  definite  1 
moral  standpoint  gained  through  struggle.  But  Meyer  knows  how  to 
present  his  story  so  that  the  reader  may  draw  his  own  conclusions,  that  he 
may  experience  the  tragic  katharsis  as  he  would  from  a  drama,  as  each 
character  is  in  his  own  way  an  expression  of  the  central  idea.  Meyer  does 
not  voice  his  own  conflicts  and  desires  in  order  to  gain  sympathy  for  himself, 
but  it  is  in  each  case  the  individual  character  for  whom  he  bespeaks  our 
interest.  All  the  details  of  characterization  which  have  been  noted  here  are 
but  means  of  bringing  the  typical  individual  before  the  reader.  This  is  true 
also  of  the  use  of  the  situations  and  episodes  in  the  narrative,  that  is,  the 
relations  which  the  characters  have  with  one  another;  each  serves  to  render 
the  characteristic  feature  more  distinct. 


III.     PLOT 

MOTIVATION 

As  the  "Psychologic  der  Handlung"  was  the  part  of  his  work  of  chief 
concern  to  Meyer,  it  is  of  interest  to  observe  how  his  insight  into  character 
has  come  to  his  aid  in  the  construction  of  his  plots.  His  general  method  of 
working  has  already  been  quoted.  ^  He  did  not  start  to  work  without  having 
considered  every  detail.  But  his  reference  of  each  thing  to  the  idea  of  the 
characters  which  he  wished  to  represent  has  prevented  the  results  from 
seeming  mechanical  or  labored.  The  author  has  revealed  his  plan  of 
motivation  for  one  of  the  Novellen,  Der  Heilige,  which  in  its  three  main 
divisions  shows  the  idea  of  character  as  the  starting-point  of  the  narrative. 

Source  of  "Der  Heilige." — The  source  of  Meyer's  material  for  this 
work  was  Thierry's  Conquete  de  I'Angleterre,  which  he  had  translated 
years  before  at  Vulliemin's  instigation.  Here  he  found  the  legend  of 
Becket's  Saracen  birth,  which  he  so  skilfully  combined  with  the  historical 
material  in  the  manner  he  describes  in  the  following  letter  to  Lingg:^ 

[Motivation  in"  Der  Heiligen."] — "Was  gibt  der  geschichtliche  RohstoflF  ? 
Eiji  normannischer  Konig  iiberhauft  einen  sachsischen  Giinstling  und 
macht  ihn  aus  politischen  Griinden  zu  seinem  Primus.  Dieser  wendet 
sich  plotzlich  gegen  ihn,  und  es  entsteht  zwischen  Konig  und  Bischof  ein 
entsetzliches  Ringen.  Der  Konig  hat  sich  also  griindlich  und 
furchtbar  in  seinem  Giinstling  enttiiuscht.  Wie  habe  ich  das 
motiviert  ? 

"  I.  Charakter  von  Thomas  Becket :  i .  Orientalisches  Blut  (Benutzung 
der  Legende);  2.  Hochste  Bildung  und  griindliche  Verachtung  seiner 
rohen  Zeit;  3.  Ueberlegene  Ruhe,  hochster  Verstand,  aber  (als  Sachse 
oder  Orientale)  ein  Unterdriickter,  daher  durch  und  durch  Diplomat; 
4.  Human,  sittlich  rein,  eine  vornehme  Natur;  5.  Ein  Zug  von  Ehrgeiz  oder 
vielmehr  ein  Gefiihl  enormer  geistiger  Ueberlegenheit ;  6.  Orientalisch 
nachtragend,  ich  will  nicht  sagen:  rachsiichtig,  aber  doch  (gegen  Laster 
und  Gewalttat)  feingrausam.  Er  spieltmitdem  Konig  von  Anfang  bis 
zu  Ende  wie  die  Katze  mit  der  Maus.  Alle  diese  Ziige  sind,  trotz  der 
Bekehrung  des  Thomas,  von  Anfang  bis  zu  Ende  streng  fest  gehalten. 

"II.  Charakter  des  Konigs  das  gerade  Gegenteil:  starkes  Tempera- 
ment, gutmiitig,  durchaus  naiv,  dabei  griindlich  unsittUch  (in  der  Geschichte 

I  See  above,  p.  4. 

«  Quoted  in  Langmesser,  op.  cit.,  p.  324. 

30 


PLOT  31 

verbrach  er  noch  Schlimmeres  als  die  von  mir  erfundene  Zerstorung 
Graces).  Er  kennt  seinen  Kanzler  stellenweise  nicht  ubel,  obwohl  er  sich 
immerwahrend  in  ihm  tauscht. 

"III.  Der  Konflikt:  Der  Konig  verdirbt  in  fiirstlichem  Leichtsinn 
Thomas  Beckets  Kind.  Ich  lasse  das  Kind  gleich  sterben,  weil  es  ja  doch 
einmal  ruiniert  ist.  Er  hat,  als  Autokrat,  kein  Gefiihl  von  der  Schwere 
seiner  Tat  und  kennt  iiberdies  den  'feigen'  (wie  Herr  RoUo  sagt)  Charak- 
ter  des  Becket,  von  dem  er  (Konig  Heinrich)  keine  Rache  furchtet.  Wie 
soUte  er  auch  ?  Aber  der  sanfte  Becket  unter  seiner  ruhigen  Miene  ist 
unversohnlich,  und  auch  der  erzahlende  Armbruster,  der  den  gesunden 
Menschenverstand  personifiziert,  nennt  die  Tat  eine  Todsiinde,  wie 
sie  auch,  f  iir  den  Vater  wenigstens,  sein  musz. 

"Problem:  Racht  sich  Thomas  Becket  und  wie?  Eristzuvor- 
sichtig  und  vielleicht  zu  edel,  um  seinen  Konig  auf  gewohnliche  Weise  zu 
verraten.  Er  verhalt  sich  passiv  i.  aus  Frommigkeit,  die  aus  dem  Gefiihl 
seines  Elends  entspringt,  2.  aus  Klugheit  und  Fatalismus  zugleich,  3.  aus  der 
unbestimmten  Ahnung,  die  Stunde  der  Rache  werde  kommen.  Aber  er 
schwebt  liber  dem  Konig  wie  ein  Geier.  Da  giebt  ihm  dieser  eine  furcht- 
bare  Waffe  in  die  Hand,  "den  Primat,"  Becket  erschrickt,  er  braucht  nur 
ein  "wahrer  Bischof "  zu  werden,  so  identifiziert  er  seine  Sache  mit  der 
Gottlichen  Gerechtigkeit  (die  damals  gleich  Kirche  war).  In  dem  Akt 
seiner  Bekehrung  durchdringen  sich  Rachsucht  und  Frommigkeit 
auf  eine  unheimliche  Weise.  Dann  verzweifelter  Kampf  des brutalen 
Konigs  mit  dem  uberlegenen  Kopf  (Lowe  und  Schlange).  Versuch  einer 
Versohnung,  absolute  Unmoglichkeit.  Bischoflicher Zug des Ehrgeizes 
in  Thomas  Becket.  Endlich  Zorn  des  Konigs  und  Martyrium.  Grosze 
Szenen!  Das  Lacheln  Beckets  auf  seinem  Grabmal  ist  reine  Phantasie. 
Becket  ist  jatot!  Die  Einrahmung  mit  dem  Armbruster  notwendig:  i.  als 
Idylle,  das  Schreckliche  mildernd,  2.  als  Angabe  des  Kostiims,  3.  als 
naiver  Augenzeuge  eines  einzigartigen  Charakters  (Thomas).  Reichtum 
der  Nebenfiguren.     Dramatischer  Gang.     Groszer  Stil." 

Becket's  character  is  his  fate.  It  is  not  outer  circumstances  or  some 
supernatural,  extramundane  power  that  are  to  be  held  responsible  for  the 
calamity  that  overtakes  him.  It  is  by  reason  of  what  he  is  that  he  first  finds 
favor  with  the  king  and  finally  advances  to  the  position  of  primate.  It  is 
in  his  nature  to  feel  disgust  at  the  pleasures  of  the  king,  to  feel  a  certain 
amount  of  contempt  for  his  simple  bluntness  and  lack  of  penetration  into 
the  motives  of  others,  and  to  feel  bitterly  the  injury  he  has  received  from 
such  a  man  whom,  while  his  master,  he  considers  in  every  other  way  his 
inferior.     It  is  also  part  of  his  character  that  he  nevertheless  feels  so  strong 


32         TECHNIQUE   EST   KONRAD   FERDINAND   MEYER'S  NOVELLEN 

an  attraction  to  the  king  that  he  cannot  cut  the  bond  between  them  definitely 
and  absolutely,  but  remains  passive  and  allows  the  man  with  the  greater 
decision  and  violence  in  action  to  destroy  hiny/ 

It  lies  also  in  the  character  of  the  king  that  he  should  be  more  deeply 
attached  to  Becket,  a  man  so  much  cleverer  than  himself,  and  that  even 
while  conscious  of  the  fact  that  he  has  injured  this  friend  most  deeply, 
his  simple  egotism  should  yet  demand  forgiveness.  He  finds,  however, 
that  he  cannot  hold  his  friend  and  his  children  by  affection  merely,  since 
he  has  lost  their  respect  and  they  have  gained  the  power  to  resist  him. 

Motivation  in  "Jiirg  Jenatsch." — In  Jiirg  Jenatsch  the  central  character 
is  a  traitor.  Jiirg  becomes  successively  pastor,  patriot,  soldier,  murderer, 
chief  counselor  of  his  general,  leader  of  his  people,  and  finally,  traitor. 
There  are  certain  events,  which  seem  to  be  the  turning-points  in  his  life,  but 
it  is  the  way  he  has  allowed  them  to  influence  his  actions  that  shows  him  to 
us  as  the  man  he  is. 

Meyer  had  certain  historical  data  as  a  basis:  Jenatsch' s  part  in  the 
trial  and  death  of  Rusca,  the  conflict  between  the  Catholics  and  the  Protes- 
tants of  Berbenn,  the  death  of  Planta,  Jenatsch's  Venetian  service,  his 
relations  to  Rohan,  and  his  own  death.  Meyer  follows  tradition  in  making 
Lucretia  Planta  the  slayer  of  Jiirg.  These  events  extend  over  a  period  of 
nineteen  years.  The  proportions  of  the  story  must  be  carefully  planned 
and  events  of  lesser  importance  subordinated  to  those  of  greater  value. 
The  chief  interest  lies  in  Jenatsch's  relations  to  Rohan  in  Blinden,  which 
form  the  content  of  Book  III,  the  last  half  of  the  volume.  The  prepara- 
tion in  Books  I  and  II  occupies  the  first  half.  In  Book  I  we  have  first  the 
contrast  between  Jiirg  as  a  daring  schoolboy  and  as  a  young  man  who  is 
beginning  to  feel  his  influence  over  others.  The  author  invents  a  meeting 
between  Jenatsch  and  Rohan  which  is  made  the  deciding  influence  causing 
Jiirg  to  lead  his  persecuted  flock,  among  whom  is  his  own  wife,  as  a  military 
protector  rather  than  as  a  shepherd.  Meanwhile,  at  the  instigation  of 
Planta,  whose  power  has  heretofore  been  undisputed,  and  whose  religion 
has  now  been  attacked,  the  Catholics  of  Berbenn  attack  the  Protestants,  and 
Jiirg's  wife  is  killed.  Stunned  by  this  first  hard  experience  of  life,  Jiirg 
follows  his  instincts  of  revenge  and  rids  the  country  of  this  dictator,  although 
Planta  is  his  former  benefactor  and  the  father  of  the  girl  he  has  loved  since 
childhood.  Here,  then,  are  the  first  manifestations  of  Jenatsch's  ability 
as  a  leader,  his  venturesome  spirit,  lack  of  restraint,  and  the  forecast  of 
future  events  in  the  meeting  with  Rohan  and  in  Lucretia's  warning  to 
Jenatsch. 

Book  II  shows  him  in  the  Venetian  service  but  desirous  of  fighting  for 


PLOT  33 

his  own  country.  He  offers  his  services  to  Rohan  who  is  then  in  Venice. 
By  the  unfortunate  outcome  of  a  duel  with  a  superior  officer  which  Jenatsch 
is  forced  to  fight  against  his  will,  he  has,  by  the  laws  of  Venice,  forfeit 
his  life.  Rohan  saves  him  by  appealing  to  Grimani,  the  Proweditore.  The 
latter  with  the  suspicion  characteristic  of  the  Venetian  warns  Rohan  against 
Jenatsch.  This  is  the  preparation  for  the  action  of  Book  III.  Rohan's 
power  is  also  invoked  by  Lucretia  Planta,  who  has  been  compelled  to  leave 
Milan  where  she  has  been  living.  She  wishes  safe  conduct  to  Biinden  that 
she  may  there  devote  herself  to  avenging  her  father's  death.  Jenatsch, 
who  is  a  witness  of  her  interview  with  the  duke,  makes  her  the  arbiter  of  his 
destiny,  to  execute  vengeance  or  to  save  him  to  fight  for  his  country.  She, 
too,  like  Rohan,  preserves  his  life.  Jiirg's  fate  is  now  definitely  connected 
with  that  of  Biinden.  He  is  thoroughly  imbued  with  the  patriotism  which 
is  the  sole  spring  of  his  actions  from  now  on,  and  convinced  of  his  ability  to 
accomplish  that  upon  which  he  has  set  his  heart. 

Rohan  is  not  strong  enough  to  accomplish  the  task  he  has  undertaken. 
The  weakness  in  his  relations  to  France  has  been  foreshadowed  in  both 
Books  I  and  H.^  In  Book  III  it  is  revealed  to  Jenatsch.  For  the  sake 
of  freeing  his  people,  the  latter  betrays  his  general  and  even  changes  his 
religion.  Lucretia  goes  as  his  messenger  to  Milan  to  negotiate  with  Spain. 
He  is,  nevertheless,  obliged  to  meet  Serbelloni  personally.  But  he  so 
transcends  all  diplomatic  etiquette  that  the  latter  determines  his  death. 
Finally,  the  news  of  Rohan's  death  gives  force  to  the  change  of  popular 
sentiment  toward  Jenatsch,  caused  by  his  treachery.  His  enemies  threaten 
him  but  Lucretia  intervenes  and  gives  the  death-stroke  herself.  Jenatsch 
accomplished  great  things  for  his  country,  but  he  could  not  gain  the  fulfil- 
ment of  his  highest  wish  for  himself:  to  make  Lucretia  his  wife.  His 
violence  and  his  unscrupulous  change  of  faith  prevented  this. 

Two  other  characters,  Lucretia  and  Waser,  are  associated  with  Jenatsch 
to  make  the  influence  of  his  personahty  more  credible.  That  a  woman  Hke 
Lucretia  should  love  him  is  a  proof  of  the  real  worth  of  his  character.  There 
is  the  deepest  sympathy  existing  between  them.  She  recognizes  his  voice 
and  form  at  a  distance.*  She,  too,  is  a  patriot  and  is  wiUing  to  sacrifice  both 
family  pride  and  her  integrity  to  help  him  in  his  work  for  Biinden.  Waser 
is  the  interpreting  character  and  stands  in  relations  with  all  the  important 
personages  of  the  story.  Yet  his  position  is  so  skilfully  managed  that  he 
is  able  to  give  an  unbiased  judgment  regarding  every  event.  He  is  present 
at  every  chmax  or  turning-point  of  the  action.^     Book  I  receives  its  name, 

I  Jiirg  Jenatsch,  pp.  66,  170.  3  Cf.  Sahr,  op.  cit.,  p.  7. 

'  Ihid.,  p.  241. 


34        TECHNIQUE  IN  KONRAD  FERDINAND  MEYER's  NOVELLEN 

"Die  Reise  des  Herm  Waser,"  from  the  role  which  Waser  is  to  play  through- 
out the  story.  Only  two  persons  fail  altogether  to  yield  to  Jenatsch's 
charm,  and  they  are  themselves  devoid  of  enthusiasm.  Wertmiiller  and 
Grimani  misjudge  him.  Yet  Jenatsch  is  not  understood  by  those  about  him. 
Facts  that  are  revealed  to  the  reader  remain  unknown  to  the  people  and  so 
his  power  is  regarded  as  marvelous.  On  the  other  hand,  he  is  one  with 
his  countrymen  in  his  relations  with  them,  moved  by  sympathy  rather 
than  by  ambition. 

The  manner  of  building  up  the  plot  in  the  first  book  is  well  worth  atten- 
tion. Lucretia's  fears  for  Jenatsch's  safety  and  Planta's  anger  toward  him 
are  signs  of  the  coming  tragedy.  Five  years  before,  Waser  had  overheard, 
and  understood,  Planta's  opinion  of  Jlirg,  although  spoken  in  Italian.  His 
statement  that  Jlirg  ought  to  become  a  soldier  amounted  almost  to  a 
prophecy.  Even  Kuri  Lehmann,  the  fisher  boy,  is  allowed  to  predict 
Planta's  death  at  Jenatsch's  hands.  Pater  Pancraz,  by  making  use  of  the 
popular  superstition,  helps  his  Protestant  friends  to  make  their  escape. 
The  part  played  by  so  unimportant  a  character  as  Agostino  deserves  notice. 
"Agostino  fiihrt  Waser  ins  Veltlin  hinab;  er  ist  der  Bote  der  Mutter  des 
Blasius  Alexander  und  der  Bruder  und  Morder  der  Lucia ;  fur  diesen  Mord 
biiszt  er  durch  die  Hand  Blasius  Alexanders  mit  dem  Tode."^ 

Each  of  the  two  first  books  contains  seven  chapters,  while  Book  III 
has  fifteen  chapters.  In  the  first  edition  it  had  but  fourteen,  the  present 
twelfth  chapter  having  been  inserted  in  the  second  edition.  Moreover,  the 
proportion  in  these  fifteen  chapters  agrees  with  the  general  arrangement. 
The  first  seven  chapters  are  devoted  to  Jenatsch's  relations  to  Rohan  up  to 
and  including  his  change  of  attitude.  Chaps,  viii  to  xiv  deal  with  his  open 
defiance  of  Rohan,  and  the  last  chapter  makes  the  reader  acquainted  with 
the  death  of  both. 

Book  I  contains  the  exposition,  giving  the  time-  and  place-settings  and 
necessary  facts  in  the  history  of  Blinden.  With  the  sixth  chapter  we  reach  a 
climax  of  the  events  narrated  in  this  book,  all  of  which  up  to  this  point  have 
taken  place  within  forty-eight  hours.  The  seventh  and  last  chapter  of 
this  book  opens  with  the  events  of  five  days  later.  The  closing  pages  give 
a  rapid  account  of  the  next  two  years.  Between  this  and  the  second  book 
there  is  an  interval  of  thirteen  years.  All  that  is  told  in  Book  II  takes  place 
within  two  days.  The  book  is  entitled  "  Lucretia,"  and  presents  the  principal 
female  character  in  her  development  into  womanhood.  Two  themes  are 
here  treated:   the  contest  between  Grimani  and  Rohan  for  the  possession 

I  Sahr,  op.  cit.,  p.  ii.  Compare  the  full  and  excellent  discussion  of  the  plot- 
structure  given  by  this  author,  pp.  1-20. 


PLOT  35 

of  Jenatsch,  and  Lucretia's  struggle  between  her  love  for  Jurg  and  her 
hatred  toward  the  murderer  of  her  father.  The  first  is  decided  in  this 
book,  with  foreshadowing  of  a  reversal  of  judgment  in  Book  III.  The 
decision  in  the  case  of  the  second  theme  remains  in  suspense  and  is  not 
settled  till  the  last  chapter  of  the  whole  novel.  This  book  has  a  double 
climax  in  chap.  v.  The  resolution  of  the  first  theme  is  prepared  for  in 
chap,  vi  and  resolved  in  chap,  vii ;  the  second  theme  is  not  suggested  again  till 
in  Book  III.  Four  chapters  (i,  ii,  iv,  vi)  of  Book  II  are  devoted  to  the  exposi- 
tion and  the  connection  with  intervening  history,  and  three  (iii,  v,  vii)  present 
the  action.  But  a  few  months  intervene  before  the  occurrences  narrated 
in  Book  III.  This  book  covers  the  period  of  time  from  the  summer  of 
1635  to  February  1639.  The  first  two  chapters  are  transitional  and  prepara- 
tory. The  highest  points  of  interest  in  the  following  come  in  chap,  vi, 
where  Jenatsch  wins  Lucre tia  as  his  messenger  to  Milan,  and  chap,  xii, 
where  he  gains  Serbelloni's  signature  to  the  articles  securing  Biinden's 
freedom.  The  latter  chapter  also  motivates  the  death  of  Jenatsch.  The 
artistic  gain  to  the  composition  from  the  insertion  of  this  chapter  is  evident. 
The  events  related  in  chaps,  iii  to  vi  take  place  on  one  day;  those  of  chaps, 
viii  and  ix  in  the  time  between  March  19  and  May  5,  1637;  those  of  chaps, 
xiii  to  XV  mostly  on  one  day  in  February,  1639;  those  of  chaps,  vii  and  xi, 
which  present  parallel  action,  in  the  winter  of  1636-37. 

Dramatic  line. — The  emphasis  of  important  steps  in  the  action  and  the 
subordination  of  minor  parts  are  readily  observable.  The  climactic  develop- 
ment of  the  whole  with  the  falling  action  in  the  last  chapters  of  the  third 
book,  and  the  final  suspense  in  the  last  chapter  resulting  in  the  death  of 
Jenatsch  and  striking  the  note  of  finality,  all  proclaim  the  dramatic  nature 
of  Meyer's  work  of  which  this  plot  is  a  typical  example.  This  quality  is  also 
manifested  in  the  abundant  use  of  dialogue  for  conveying  information  rather 
than  deliberate  exposition  on  the  part  of  the  author.  There  is  rapid 
movement  throughout  and  acceleration  at  the  end  of  the  novel.  There  is 
concentration  of  all  illustrative  material  and  subordination  of  the  minor 
characters  to  throw  greater  light  on  the  chief  character.  This  is  a  product 
of  Meyer's  training  gained  from  the  study  of  the  style  of  French  writers. 

I  cannot  agree  with  Stoessl  in  his  criticism  of  Meyer's  method  as  revealed 
in  this  book:  "Der  Dichter  tiirmt  immer  neue  Kombinationen  auszeren 
Geschehens  auf,  die  das  Innere  nicht  erleuchten,  sondem  verschlitten,  und 
dies  fuhrt  zu  einer  fast  unertraglichen  Gewaltsamkeit,  zu  einer  barocken  Ver- 
starkung  der  Charaktere."^  Every  part  of  the  story  serves  to  develop  or 
illustrate  the  main  theme,  the  study  of  the  character  of  Jenatsch. 

I  Stoessl,  op.  cit.,  p.  48'. 


36    TECHNIQUE  IN  KONRAD  FERDINAND  MEYER'S  NOVELLEN 

Chance. — All  the  events  happen  with  the  highest  degree  of  naturalness. 
Nothing  seems  to  be  due  to  chance.  Take  as  an  example  the  fact  that 
Pancraz  hears  the  French  priest  discuss  the  treaty  of  Chiavenna,  and  that 
Pancraz'  letter  reaches  Jenatsch  in  the  moment  of  his  greatest  mental  struggle. 
It  is  natural  to  suppose  that  these  topics  were  constantly  being  discussed  by 
those  concerned  in  the  issues.  Jenatsch  was  a  conspicuous  figure.  His 
services  would  be  desired  by  Milan,  if  ever,  at  just  such  a  critical  moment. 
Again,  take  the  matter  of  the  duel  with  Ruinelli,  an  accident  that  gives  deep 
significance  to  the  following  events.  From  what  we  know  of  the  character 
of  the  colonel  as  well  as  of  Jenatsch,  the  working  of  the  law  of  cause  and 
efifect  is  evident  here  too.  There  seems  to  be  one  case  of  the  use  of  chance  in 
Die  Hochzeit  des  Monchs,  which  is,  I  believe,  the  only  such  occurrence  in 
Meyer's  Novellen.  It  is  the  ring  episode  which  gives  rise  to  Olympia's 
misunderstanding  of  the  monk's  intentions.  It  would  have  been  possible, 
perhaps,  to  have  brought  about  the  meeting  between  the  monk  and  Antiope 
and  the  mother's  misapprehension  by  employing  a  more  deeply  laid  design. 

Motivation  in  "Die  Leiden  eines  Knaben." — Meyer  has  also  developed 
the  sUghtest  suggestion  into  a  story  with  dramatic  arrangement  of  plot,  as 
in  the  case  of  Die  Leiden  eines  Knaben.  He  found  his  material  for  this  story 
in  the  memoirs  of  St.  Simon  in  the  account  of  the  events  of  the  year  1711. 
The  passage  is  quoted  by  Langmesser: 

Wenige  Tage  nach  dem  Tode  Boileaus  traf  den  Marschal  von  Boufflers  ein 
grausames  Ungliick.  Sein  alterer  Sohn  war  vierzehn  Jab  re  alt,  hiibsch,  gut 
gebaut;  er  versprach  alles  und  hatte  vortrefflich  bei  Hofe  reiissiert,  als  ihn  sein 
Vater  dort  dem  Konig  vorstellte,  damit  er  diesem  seinen  Dank  aussprache  fiir 
die  ihm  verliehene  Anwartschaft  auf  den  Gouverneurposten  von  Flandem  und 
speziell  fiir  Lille.  Er  kehrte  dann  ins  JesuitenkoUegium  zuriick,  wo  er  in  Pension 
war.  Ich  weisz  nicht,  welchen  Jugendstreich  er  dort  mit  den  zwei  Sohnen  d'Ar- 
gensons  beging.  Die  Jesuiten  wollten  zeigen,  dasz  sie  niemanden  fiirchteten  und 
auf  niemanden  Riicksicht  nehmen,  und  peitschten  den  Knaben,  da  sie  wirklich 
vom  Marschall  nichts  zu  fiirchten  hatten;  sie  hiiteten  sich  aber  wohl,  ebenso 
gegen  die  beiden  andern  zu  verfahren,  die  gleich  schuldig  v/aren,  wenn  man 
uberhaupt  diesen  Ausdruck  gebrauchen  darf;  denn  die  Jesuiten  hatten  jeden 
Tag  wegen  der  Biicher,  der  Jansenisten  und  allerlei  Dinge  und  Geschichten,  die 
ihnen  wichtig  waren,  mit  dem  gut  angeschriebenen  Polizeiminister  d'Argenson 
zu  rechnen.  Der  kleine,  mutige  Boufflers,  der  sich  nicht  mehr  als  die  zwei  d'Ar- 
gensons  hatte  zuschulden  kommen  lassen,  und  zwar  in  ihrer  Gesellschaft,  wurde 
von  einer  solchen  Verzweiflung  ergriffen,  dasz  er  noch  am  selben  Tage  krank 
wurde.  Man  brachte  ihn  ins  Haus  des  Marschalls,  wo  es  sich  als  unmoglich 
herausstellte,  ihn  zu  retten.  Sein  Herz  war  angegriffen,  sein  Blut  verdorben,  das 
Fleckfieber  trat  hinzu,  und  in  vier  Tagen  war  es  mit  ihm  zu  Ende.     Man  kann 


PLOT  37 

sich  den  Zustand  seines  Vaters  und  seiner  Mutter  denken.  Der  Konig,  von  dem 
Geschehnis  bewegt,  sandte  einen  Edelmann  zu  ihnen,  um  seine  Anteilnahme  an 
ihrem  Verlust  auszudriicken,  und  teilte  ihnen  mit,  dasz  er  dieselbe  Anwartschaft 
dem  jungeren  Sohne  verleihen  wiirde.  Die  allgemeine  Entriistung  iiber  die 
Jesuiten  war  ungeheuer;  aber  es  blieb  alles  beim  alten.' 

Meyer  transforms  this  incident  in  giving  it  artistic  shape.  The  interest 
felt  for  the  boy  must  be  deepened  and  the  punishment  he  suffers  must  appear 
more  cruel.  Thus  he  is  portrayed  as  utterly  lacking  genius  and  acumen,  but 
with  a  sense  of  his  honor  as  a  gentleman.  He  is  conscious  that  his  defects 
are  known  and  ridiculed  by  the  majority  of  those  about  him,  and  his  father 
alone  fails  to  recognize  them.  The  latter  keeps  him  in  school,  although  the 
boy  has  military  talent  and  yearns  to  follow  his  father  in  the  field.  More- 
over, the  father,  by  his  unbending  will  and  inflexible  purpose,  has  offended 
the  Jesuits,  in  whose  school  he  has  placed  his  son.  Therefore  the  boy 
suffers  from  the  revenge  they  have  so  long  harbored  against  the  father.  Thus 
the  whole  tragedy  lies  in  the  character  of  the  boy  in  conflict  with  the  char- 
acters of  his  father  and  Pere  Tellier. 

Initial  action. — Meyer  begins  his  stories  in  medias  res,  and  makes 
necessary  reversions  either  in  his  own  character,  or  through  the  interpreting 
character  or  story-teller.  Five  of  the  Novellen  are  related  by  one  of  the  actors 
in  the  events  narrated,  the  only  exception  being  the  story  of  Die  Hochzeit  des 
Monchs  told  by  Dante  and  represented  to  be  a  pure  invention.  The  interest 
either  in  the  story-teller  or  the  story  to  be  told  is  awakened  at  the  start.  In 
the  former  case  note  the  more  detailed  description  of  the  external  appearance 
of  the  narrators.  Dialogue  begins  after  a  few  paragraphs;  in  Die  Versu- 
chung  des  Pescara  it  begins  in  the  second. 

Point  of  view. — Meyer  identifies  himself  completely  with  the  characters 
of  the  Novellen,  making  the  point  of  view  that  of  the  actors  even  when  he 
does  not  withdraw  his  own  personality  behind  that  of  another  personage  as  the 
fictitious  narrator.  The  reader  gathers  all  necessary  information  from  the 
characters  themselves  in  the  course  of  the  narrative.  The  author  never  stops 
to  give  explanations. 

Time. — Each  Novelle  presents  a  moral  conflict  implying  the  desire  of  the 
individual  for  self-assertion.  Therefore  it  is  not  surprising  to  find  that  the 
scenes  of  four  of  the  stories  are  laid  in  the  Renaissance  period  when  the 
human  spirit  was  asserting  itself  most  strongly. 

Im  Mittelalter  lagen  die  beiden  Seiten  des  Bewusztseins — nach  der  Welt 
hin  und  nach  dem  Innem  des  Menschen  seibst — wie  unter  einem  gemeinsamen 
Schleier  traumend  oder  halbwach In  Italien  zuerst  verweht  dieser  Schleier 

I  Langmesser,  op.  cit.,  pp.  344,  345. 


38         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

in  die  Liifte;  es  erwacht  eine  objektive  Betrachtung  und  Behandlung  des  Staates . 
und  der  samtlichen  Dinge  dieser  Welt  uberhaupt;  daneben  aber  erhebt  sich  rait 
voller  Macht  das  Suhjektive;  der  Mensch  wird  geistiges  Individuum  und  erkenrft 
sich  als  solches.  ^ 

Or  again,  we  find  the  central  figures  of  the  great  Protestant  leaders, 
Coligny  and  Gustavus  Adolphus;  we  live  in  the  stirring  times  of  Henry  II, 
when  the  races  in  England  refused  to  unite  at  the  loss  of  their  national  traits; 
in  the  time  of  Charles  the  Great,  the  great  promoter  of  enlightenment  and 
civihzation;  and,  by  way  of  contrast,  in  the  reign  of  Louis  XIV,  when  all 
consideration  of  the  individual  was  subordinated  to  the  prevailing  uniformity 
of  the  imperial  regime. 

Plots  with  more  than  one  interest. — Three  Novellen  have  plots  with 
more  than  one  interest.  Jiirg  Jenatsch  resembles  Schiller's  Wilhelm  Tell  to 
a  certain  extent  in  the  interweaving  of  the  different  interests  involved:  the 
love  interest  of  Jenatsch  and  Lucretia,  the  incidents  connected  with  Jenatsch's 
personal,  political,  and  religious  relations,  and  the  political  condition  of  the 
people  of  Blinden.  We  get  from  this  interweaving  a  more  definite  sense  of 
the  many-sidedness  of  life.  The  real  interest  is  the  development  of  Jenatsch's 
character  as  affected  by  his  political  and  personal  relations.  The  story  of 
Lauenburg  and  Corinna  in  Gustav  Adolfs  Page  forms  a  secondary  interest. 
The  character  of  the  Swedish  king  is  revealed  in  his  manner  of  dealing 
with  the  pair,  and  this  adds  an  element  of  suspense  to  the  progress  of  the 

Cmain  theme.  In  Der  Heilige  there  is  a  subplot  centered  about  the  character 
in  the  frame-story  who  narrates  Becket's  history.  It  runs  parallel  with  the 
main  plot.  It  shows  Becket's  lack  of  sympathy  with  the  Saxons,  foreshadows 
his  own  sorrow,  and  Hans'  superstition  construes  the  influence  of  Becket's 
blood  on  Hilde  as  another  instance  of  the  primate's  implacability. 

Double  interest  in  "Angela  Borgia." — Again  in  Angela  Borgia  there  is 
question  of  the  relative  prominence  of  the  action  centering  about  Angela 
and  that  in  which  Lucretia  Borgia  is  the  central  figure.     Langmesser  says: 

Zwar  die  strenge  Komposition,  die  der  Ruhmestitel  der  Versuchung  des 
Pescara  ist,  suchen  wir  in  der  Angela  Borgia  vergebens.  Die  Novelle  fallt  merklich 
in  zwei  Teile  auseinander:  steht  im  ersten  Teil  Angela  und  ihr  Verhalten  zu 
Giulio  im  Vordergrund,  so  tritt  sie  im  zweiten  Teil,  von  der  Blendung  des  Este 
an,  auffallend  hinter  Lucrezia  zuriick,  die  mit  ihren  Machinationen  zugunsten 
Cesares  unser  ganzes  Interesse  in  Anspruch  nimmt.  Erst  gegen  den  Schlusz  der 
Novelle  dominiert  wieder  Angela.  Das  ist  eine  unleugbare  Schwache  der  Kom- 
position, die  freilich  durch  den  Stoff  entschuldigt  werden  kann:  die  faszinierende 
Papsttochter  hat  auch  den  Dichter  gefangen  genommen.     Die  Zeichnung  ihrer 

*  Burckhardt,  Die  Kultur  der  Renaissance  in  Italien  (Basel,  i860),  p.  131. 


A 


PLOT  39 

problematischen  Seele  nahm  ihn  schlieszlich  mehr  in  Anspruch  als  die  der  ein- 
facher  gearteten  Angela.  Diese  Schwache  wird  jedoch  vom  rein  dichterischen 
Standpunkt  aus  zur  Starke:  der  Schwanengesang  Meyers  hatte  nicht  so  erschiit- 
temde  Kadenzen,  wiirde  die  damonische  Gestalt  Lucrezias  weniger  plastisch 
hervorgetreten   sein.' 

Although  Meyer  confesses  in  a  letter  to  Luise  von  Franjois  that  the  novel 
in  question  treats  of  Lucretia  Borgia  as  much  as  it  does  of  Angela,^  and  it 
may  be  contended  that  he  was  unduly  interested  in  the  character  of  Lucretia,^ 
yet  the  narrative  is  so  managed  that  Angela  remains  ever  the  heroine  and 
Lucretia  is  treated  typically  as  a  product  of  the  age  as  a  contrast  to  Angela 
who  is  so  different  from  her  associates.  Laying  aside  the  question  of  the 
relativity  of  the  character  interest,  the  strict  composition,  the  development 
of  the  two  threads  toward  the  final  situation  is  obvious.  I  agree  with  Blaser 
who  says  that  the  strict  and  intentional  development  of  the  action  usual  with 
Meyer  is  here  carried  to  an  extreme  because  of  the  fataUstic  idea  employed 
as  foreshadowing. 4  In  order,  however,  to  show  that  the  story  is  unified  rather 
than  divided,  I  submit  a  table  showing  in  parallel  columns  the  development 
of  the  two  main  threads  of  the  action,  chapter  for  chapter,  omitting  all  sub- 
ordinate material. 

Comparison  of  the  Two  Main  Threads 

A  ngela  Lucretia 

I.  Introduction     of     Angela     and  Introduction    of    Lucretia    and 
Giulio.                                                           Strozzi. 

II.  DiscussionofAngela'sbetrothal.  Bembo  warns  Lucretia  about  yield- 
Cardinal  admits  his  passion,  hints  at      ing  to  Caesar's  influence. 

her  love  for  Giulio. 

III.  Giulio's  feeling  for  Angela,  Hint  of  Strozzi's  feelings  for  Lu- 
dreams  of  being  blinded  by  her.                 cretia. 

IV.  Danger     threatens     Giulio.  Alphonse  and  Bembo  warn  Strozzi. 

V.  Cardinal  shows  his  hate  before 
the  duke. 

VI.  Blinding  of  Giulio. 

VII.  Giulio    conspires    with    Fer- 
rante. 

VIII.  Imprisonment   and   trial   of  Hints  of  Caesar's  escape, 
the  brothers. 

I  Langmesser,  op.  cit.,  p.  406. 

'  Bettelheim,  op.  cit.,  p.  264,  letter  of  October  25,  1891. 

3  Cf.  Frey,  op.  cit.,  p.  335,  and  Betsey  Meyer,  op.  cit.,  p.  207. 

4  Cf.  Blaser,  op.  cit.,  p.  143. 


40    TECHNIQUE  IN  KONRAD  FERDINAND  MEYER*  S  NOVELLEN 

Comparison  of  the  Two  Main  Threads — Continued 

Angela  Lucretia 

IX.  Angela's  efforts  to  aid  Giulio,  Caesar's  note  to  Lucretia.  Strozzi 
his  pardon.  falls  in  Lucretia's  net. 

X.  Angela's  surprise  at  Strozzi's  Caesar  free.  Strozzi  goes  to  him. 
going  to  Caesar.                                            C.'s  death.     L.'s  cleverness. 

XI.  Contrast  of  Angela  and  Lu-  Lucretia  indifferent  to  Strozzi's 
cretia.     A.  sees  Giulio.                                fate,  his  death. 

XII.  Giulio  in  tower.  A.'s  mar-  Lucretia  retires  to  the  convent, 
riage.     G.  freed.                                          Discovery  of  A.'s  marriage. 

Examining  this  outline  we  find  that  the  chapters  which  deal  with  the 
Caesar  Borgia  and  Strozzi  episode  are  the  ninth,  tenth,  and  eleventh.  In 
the  ninth  the  interest  is  certainly  equally  divided  with  that  in  the  Angela 
thread,  as  is  also  the  case  in  the  eleventh  chapter.  Chap,  x  contains  the 
main  exposition  of  this  episode  which  brings  out  the  peculiar  traits  of  Lucre- 
tia's character.  It  gives  Meyer's  interpretation  of  her  as  a  type  of  personality 
produced  by  the  Renaissance  movement.  But  even  here  a  reference  is  made 
to  Angela,  emphasizing  the  portrait  of  Lucretia  as  a  contrast  to  that  of  the 
heroine,  and  making  us  behold  Lucretia  through  Angela's  eyes.  Further- 
more, the  last  chapter  of  the  book  is  devoted  almost  exclusively  to  the  Angela 
theme.  Angela  is  a  more  real  figure  than  Lucretia  and  holds  the  reader's 
attention,  even  though  we  have  such  a  careful  analysis  of  Lucretia's  character. 
The  theme  of  the  Novelle  and  its  inner  unity  is  well  stated  by  Heine  :^ 

Nun  aber  wird  in  dem  schmahlich  geblendeten  Giulio  durch  furchtbares 
Leiden  die  tief  verschiittete  Giite  und  Wahrheit  seiner  Natur  erzogen;  und  mit 
ihm  verbindet  sich  Angela  Borgia,  der  Lucrezia  Gegenbild,  in  der  der  Borgia 
Kraft  sich  zu  sittHcher  Grosze  entwickelt.  So  stehen  die  beiden  lichten  Gestalten 
in  furchtbarer  Umgebung:  der  Bose,  der  sich  zum  Guten  durchdringt,  und  die 
Barmherzige,  die  den  Sunder  mit  starken  Armen  emporzieht,  und  in  diesem  Gegen- 
satz  der  beiden  zu  ihrer  Umgebung  liegt  die  kiinstlerische  Einheit  des  Werkes. 

Love  interest. — There  is  a  love  interest  in  each  of  the  Novellen,  though 
it  is  far  more  prominent  in  some  than  in  others.  In  Der  Heilige  it  is  used 
merely  as  motivation.  In  Die  Hochzeit  des  Monchs,  Die  Richterin, 
and  Angela  Borgia  it  forms  the  dramatic  conflict.  Yet  in  none  of 
these  cases  does  the  love-conflict  constitute  the  chief  problem  to  be 
solved;  it  gains  its  solution  by  the  settlement  of  the  higher  psychological 
struggle.  Guilt  and  atonement  form  the  principal  motif.  Corinna  in 
Gustav  Adolfs  Page  is  the  only  female  figure  in  which  Meyer  portrayed 
sensuous  love.^     Even  in  Die  Hochzeit  des  Monchs  the  tragic  result  of 

^  G.  Heine,  op.  cit.,  p.  84.  2  Cf.  Saitschik,  op.  cit.,  p.  299. 


PLOT  41 

Astorre's  love  for  Antiope  is  the  penalty  of  his  guilt  in  breaking  his  vow. 
He  is  unable  to  contend  against  the  current  of  affairs  in  the  busy  world  in 
which  he  is  a  stranger. 

Threads  of  plot. — Jiirg  Jenatsch,  Der  Heilige,  and  Angela  Borgia  contain 
several  episodic  threads,  which  are  usually  motivating  or  illustrative.  In  Jiirg 
Jenatsch,  for  example,  the  parts  played  by  Lucia,  Agostino,  Blasius  Alexander, 
Kuri  Lehmann,  the  Spanish  lieutenant,  Ruinelli,  the  Venetian  schoolmaster, 
Grimani,  Serbelloni,  are  necessary  either  for  the  development  of  the  action 
or  to  throw  light  on  the  character  of  Jenatsch,  enabling  us  to  see  what  he  is 
or  to  draw  inferences  concerning  him.  Other  episodic  threads  are  connected 
with  the  main  threads  of  Lucretia  and  Rohan.  The  persistent  characters 
are  joined  in  pairs  to  the  three  main  characters.  Die  Hochzeit  des  Mdnchs 
has  a  large  number  of  threads  in  the  frame-story  owing  to  the  peculiar 
circumstances  under  which  the  story  itself  is  shaped  by  the  narrator,  Dante. 
His  aim  is  to  make  us  acquainted  with  the  characters  of  his  hearers  by  this 
means.  The  number  of  main  and  persistent  threads,  which  in  most  cases 
is  coincident,  is  small.  Thus  Meyer  concentrates  all  the  light  on  the 
character  to  be  presented.  When  he  does  use  a  variety  of  illustration,  it  is 
because  of  the  greater  complexity  of  the  character  and  the  need  of  illuminat- 
ing it  from  many  points  of  view,  which  he  does  through  the  action  of  the 
characters  and  not  by  his  own  comment. 

Incidents  of  plot. — The  incidents  in  Meyer's  plots  are  usually  closely 
interwoven  with  the  dialogue,  which  is  present  in  about  an  equal  amount. 
In  general  it  may  be  said  that  the  incident  is  massed  about  the  dramatic 
turning-points.  In  type  they  are  dramatic.  Jiirg  Jenatsch  and  Der 
Heilige  follow  the  historical  incident  most  closely.  Die  Versuchung  des 
Pescara  and  Angela  Borgia  contain  a  larger  proportion  of  idealized 
material.  The  other  Novellen  are  most  accurately  classed  as  ideal.  The 
individual  and  psychological  type  predominates  in  all,  though  not  to  the 
exclusion  of  objective  incident,  even  in  Die  Leiden  eines  Knaben,  which 
contains  the  least  proportion.  In  Das  Amulet,  Jiirg  Jenatsch,  Der 
Heilige,  and  Die  Versuchung  des  Pescara  there  are  incidents  distinctly 
social  in  type.  The  incidents  both  determine  and  reveal  character,  and 
do  not  retard  the  action.  They  are  used  for  foreshadowing  and  climax; 
many  times  for  contrast,  less  often  for  parallel  illustration.  The  relation 
between  the  inner  and  outer  action  in  the  Novellen  is  that  expressed  in 
the  following: 

But  the  best  novel,  surely,  like  the  best  play,  is  that  in  which  inner  character 
and  outward  action  are  developed  simultaneously;  in  which  the  growth  of  mind 
and  heart  and  will  are  expressed  through  tangible  and  striking  scenes.' 

'  Bliss  Perry,  op.  ciL,  p.  55. 


42         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

Type  of  plot. — The  plot  of  Meyer's  Novellen  is  always  unified,  simple, 
and  climactic.  The  interest  in  character  which,  in  the  hands  of  many 
novelists,  would  cause  a  predominance  of  situation  over  movement,  because 
of  their  yielding  to  the  desire  to  make  the  most  of  the  situation  by  adding 
their  own  comment,  is  here  given  such  an  objective  treatment  that  these 
two  elements  are  equally  balanced.  Although  the  setting  is  historical,  the 
author  has  united  both  real  and  imaginary  characters  and  real  and  fictitious 
events,  but  based  to  such  an  extent  on  actual  facts  that  they  may  almost 
serve  as  sources  of  information. 

Illusion. — Meyer's  method  of  beginning  at  a  point  in  the  action 
necessitating  reversion  to  past  events  as  well  as  allowing  rapid  forward 
movement  is  an  aid  to  illusion.  The  element  of  reversion  is,  however, 
comparatively  slight,  and  the  shifts  are  few  and  clearly  marked.  The 
historic  realism,  his  individuahzation  of  characters,  and  the  objective  manner 
of  his  procedure,  a  special  manifestation  of  the  latter  being  his  use  of  the 
frame-story,  all  strengthen  the  illusion.  Among  the  formal  devices  used 
may  be  mentioned  Hans'  explanations  to  Herr  Burkhard  how  he  came  into 
possession  of  his  knowledge  of  the  incidents  he  describes,  the  assertions 
of  the  characters  that  they  are  speaking  the  truth,  and  Meyer's  fond- 
ness for  alternative  explanatory  sentences,  which  may  be  connected  with 
his  balanced  and  antithetic  style.  The  following  examples  will  serve  as 
illustrations : 

War  es  die  Aufregung  der  Raise,  war  es  ein  die  heimlich  aufsteigende  Furcht 
bekampfender  rascher  Entschlusz,  oder  war  es  einfache  Neugier,  was  den  jungen 
Ziircher  vom  Lager  trieb  ?  .  .  .  . 

Entweder  wuszte  er  nichts,  oder  er  fiirchtete  von  mir  verraten  zu  werden.' 

His  use  of  foreshadowing  adds  to  the  dramatic  character  of  his  work. 
As  already  suggested,  this  may  weaken  the  illusion,  which  it,  to  a  certain 
extent,  undoubtedly  does  in  Angela  Borgia.  But  the  fact  that  much  of  the 
material  in  the  Novellen  is  based  on  Meyer's  own  experience,  including  not 
merely  external  events  in  his  life,  but,  to  an  indeterminable  degree,  the 
conflicts  and  struggles  of  his  own  heart,  must  of  necessity  cause  conviction 
in  the  mind  of  the  reader. 

SUSPENSE 

Mystery. — Otto  Ludwig  has  said  that  suspense  may  be  of  two  kinds,  that 
of  sympathy  or  that  of  curiosity.^  The  suspense  of  sympathy  is  that  felt  in 
following  the  career  of  a  problematic  character.     This  kind  is  not  absent 

I  Jiirg  Jenatsch,  pp.  32,  67. 

'  Otto  Ludwig,  Schr.  VI,  or  Stud.  II,  p.  98. 


PLOT  43 

from  any  of  Meyer's  Novellen.  The  second  kind,  the  suspense  of  curiosity, 
would  be  felt  where  there  is  mystery.  Mystery  plays  a  part  in  each  of  the 
Novellen.  In  Das  Amulet  there  is  first  that  of  Gasparde's  birth,  then  of 
her  marriage  to  Schadau  (unknown  to  Boccard),  and  Schadau's  ignorance 
of  what  was  being  done  during  the  massacre.  In  Jiirg  Jenatsch  the  duel 
in  Book  II  is  a  means  of  prolonging  the  suspense  throughout  the  book,  as 
the  decision  of  Jenatsch's  fate  is  not  reached  till  the  end  of  the  book.  It 
is  presented  from  Jenatsch's  own  point  of  view,  from  that  of  eyewitnesses, 
of  Waser,  of  Grimani,  and  of  Rohan.  Mystery  has  a  large  part  in  Die 
Richterin  and  in  Die  Versuchung  des  Pescara. 

Secret  observation. — Another  method  of  arousing  both  curiosity  and 
sympathy  is  that  of  allowing  one  person  to  overhear  the  conversation  of 
others.  Schadau  has  the  unique  privilege  of  beholding  the  royal  conspir- 
ators when  the  signal  for  the  massacre  is  struck.  Hans  is  so  moved  by 
Becket's  speech  to  Grace  that  he  turns  away  his  attention  from  watching 
them  to  carrying  out  the  king's  commands.  A  real  appreciation  of  Julian's 
situation  is  gained  when  Fagon  sees  him  at  his  painting  lesson  with  Mouton. 
Wallenstein's  communications  to  Gustavus  Adolphus  so  excite  the  fears 
of  the  listening  page  that  he  thinks  to  escape  detection  only  by  flight. 
Stemma  acknowledges  her  guilt  in  the  presence  of  Palma  Novella. 

Prophecies,  visions,  etc. — Other  devices  for  securing  suspense  of  one  of 
these  kinds  are  foreshadowing  by  the  use  of  presentiments,  prophecies, 
dreams,  visions,  emphasis  of  the  fate  idea,  and,  finally,  jn  the  highest 
degree  by  the  idea  of  retribution  which,  in  demanding  atonement  for  guilt, 
preserves  the  moral  unity  or  the  operation  of  universal  law,  and  repetition 
in  different  forms.  Here,  as  before,  the  chief  illustrations  will  be  drawn 
from  Der  Heilige  and  Jiirg  Jenatsch  and,  by  way  of  contrast,  from  Angela 
Borgia,  in  which  the  amount  of  foreshadowing  is  somewhat  too  great. 

In  '^Der  Heilige." — The  ballad  of  "Young  Beichan"  hummed  by  Hans 
in  Der  Heilige  is  a  preparation  for  the  story  as  well  as  the  prophecy  of  the 
nun  concerning  this  union  of  the  Saracen  with  the  Saxon:  "In  der 
Brautnacht  der  Sarazenin  aber  hatte  eine  prophetische  Nonne  zu  London 
ein  Gesicht  und  sah  aus  dem  neuen  Ehebunde  eine  weisze  Lilie,  dasz  ist 
einen  Heiligen,  entsprieszen  und  gen  Himmel  wachsen."^  Both  help  us 
to  appreciate  more  clearly  the  age  in  which  Becket  lived  and  the  attitu  le  of 
the  people  toward  a  man  whom  they  felt  to  be  so  greatly  their  suj,  erior. 
They  would  feel  either  abject  admiration  or  envy  at  his  undeserved  success. 

The  Saxon  master's  words  to  Becket:  "Schade,  Pfaffe,  dasz  du  kein 
Kind  hast,  das  dir  ein  Normanne  verderben  kann!"^  expresses  this 
I  Der  Heilige,  p.  33.  2  Ibid.,  p.   41. 


44         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

perception  of  the  gulf  between  himself  and  this  Saxon  who  has  risen  to 
power  only  by  ignoring  the  existence  and  claims  of  his  countrymen.  It 
amounts  to  a  prophecy  of  Becket's  loss. 

Hans  has  a  vision  of  Grace's  guardian  angel  grieving.^  He  dreams  of 
her  marriage  to  Richard;^  but  as  dreams  go  by  contraries  he  knows  evil 
and  not  happiness  will  be  the  outcome.  He  knows  something  of  the 
strength  of  will  of  both  Becket  and  the  king,  and  dreads  the  collision  which 
the  death  of  Grace  will  certainly  cause. 

Bertram  de  Born  is  allowed  to  foretell  Becket's  death  in  connection  with 
an  expression  of  his  hatred  for  Henry  II,^  whom  he  considers  as  the  enemy 
of  both  himself  and  Becket.     Becket's  own  belief  in  fate  is  shown  in  his 
feeling  that  his  star  stands  in  close  relation  to  that  of  the  king.^ 
}  The  king's  state  of  mind  after  he  has  lost  Becket's  friendship  is  revealed 

I  most  subtly  in  his  recalling  instances  of  ingratitude,  misusing  both  his 
i  dogs  and  Hans,  and  in  his  significant  manner  of  shooting  the  hunted  stag 
after  first  addressing  it  as  Thomas  Becket.s  A  man  of  Henry's  tempera- 
ment must  give  vent  openly  to  his  resentment,  in  contrast  to  Becket  whose 
grief  at  Grace's  death  we  are  never  permitted  to  behold  except  on  the  occa- 
sion of  Hans'  finding  him  beside  her  casket.  His  tears  are  shed  in  secret. 
Here,  it  is  suggested  that  the  king,  who  is  subject  to  sudden  and  violent 
fits  of  passion,  will  give  orders  for  Becket's  death  in  one  of  these  outbursts. 
The  king's  ruin  is  likewise  prepared  for,  besides  in  the  ways  already  men- 
tioned, by  Hans'  vision  of  a  sword  suspended  over  his  head.*^  The  break- 
ing of  the  state  seal  as  it  passes  from  Becket's  hands  to  those  of  the  king 
indicates  the  breach  to  exist  henceforth  between  them.^ 

Repetition:   Of  words. — The  repetitions  intensify  the  effect   and  give 

unity  to  the  artistic  form.     The  repetition  of  words  may  be  related  to  the 

structure  of  the  novel,  its  function  being  to  arouse  curiosity.    It  has  a  distinct 

,      reference  to  the  denouement.     Note  the  use  of  the  word  "Gnade"  and  the 

\     play  upon  it;    also  the  direct  allusions  to  Becket's  death  and  the  smile 

with  which  he  met  it: 

Und  sein  Lacheln  sehe  ich  noch,  das,  ....  heilige  Hohnlachein  (p.  14). 
'        Denn  ich  erblicke  ein  blutiges,  totes  Haupt  vor  mir  und  den   gegeiszelten 
Riicken  meines  Konigs  (p.  168). 

Sah  ich  ein  Blutmeer  vor  meinen  Augen  und  darin  ein  sterbendes,  lachelndes 
Haupi  (p.  216). 

Eii\  Sachsischer  Steinmetz  hatte  ihn  abgebildet,  still  lachelnd  (p.  220). 

Herr  Thomas  aber  auf  seinem  Grabsteine  lachelte  (p.  221). 

I  Der  Heilige,  p.  78.  ■♦  Ihid.,  p.  136.  ^  Ibid.,  p.  191. 

»  Ihid.,  p.  90.  5  Ibid.,  pp.  160,  161.  7  Ibid.,  p.  152. 

3  Ibid.,  p.  176. 


PLOT  45 

The  repetition  of  the  adjectives  "dunkel"  as  applied  to  Becket's  eyes  and  of 
"blasz"  as  applied  to  his  face  is  so  marked  as  to  approach  the  function  of  a 
Leitmotiv  and  produce  suspense.  I  give  instances  of  the  latter,  which  is 
the  more  characteristic: 

Vor  seinem  blaszen  Antlitz  (p.  45). 

In  den  blaszen,  traumenden  Ziigen  (p.  72). 

Der  Blasze  (p.  73). 

Der  .....  nochblasseralssonsterscheinende  Kanzler  (p.  49). 

Dieses  ....  Antlitz,  das  ....  gleich  blasz  war  (p.  iii). 

Dieser  blasze  Memme  (p.  142). 

The  synonyms  "bleich,"  "farblos,"  "leblos"  are  also  found.  The  sound 
impression  of  the  word  "blasz,"  thus  repeated,  produces  a  sensation  of 
ominous  expectancy. 

Of  point  at  isstie. — Again,  such  a  repetition  may  call  attention  to  a  point 
at  issue.  In  this  story  the  reader  is  made  aware  of  three  such  points:  the 
"geistige  Gerichtsbarkeit,"  the  words  being  repeated  six  times;  the  kiss 
of  peace,  repeated  three  times;   the  ban,  four  times,  besides  synonyms. 

Of  fate  idea. — Similarly,  the  fate  idea  may  be  introduced.  Some  e.xternal 
symbol  may  be  used,  as  here  the  crucifix.  There  was  no  crucifix  in  Grace's 
villa  nor  in  the  chapel  where  her  casket  stood.  Its  portrayal  of  sufifering 
was  distasteful  to  Becket.  Finally  he  holds  counsel  with  it  and  addresses 
it,  and  meets  his  death-blow  with  his  arms  extended  like  the  beams  of  the 
cross.  Becket's  fate  is  also  prepared  for  by  the  use  of  analogy.  He  com- 
pares himself  to  a  shepherd,  and  the  word  "Heerde"  is  used  several  times 
referring  to  the  Saxons.  The  Normans  are  likened  to  wolves.  But  stronger 
than  this  is  the  reference  to  Christ's  kissing  Judas.  Bertram  de  Born  employs 
a  similar  comparison.'  Such  a  case  of  repetition  as  this  is  of  a  psychological 
nature  and  creates  suspense  by  enlisting  our  sympathy  with  the  character. 
Repetition  of  the  moral  idea  also  occurs.* 

Of  scenes,  and  of  action. — There  are  three  scenes  in  which  the 
king  expresses  his  anger  toward  Becket,  the  first  two  of  which  are 
a  means  of  securing  suspense  as  to  the  final  outcome.3  The  fact  that 
Hans,  the  keen  observer,  is  three  times  deceived  in  regard  to  impor- 
tant points  adds  to  the  mystery  surrounding  Becket's  character.^  Other 
instances  of  repetition  of  action  are  Becket's  references  to  serving  a 
higher  master  and  those  to  the  king's  death. s 

Suspense  in  '^Jiirg  Jenatsch." — Dreams  play  a  minor  part  in  Jurg 

'  Ibid.,  pp.  121,  197,  199,  176.  4  Ibid.,  pp.  67,  106,  331. 

»  Ibid.,  pp.  85,  131,  154,  188.  s  Ibid.,  pp.  46,  196. 

3  Ibid.,  pp.  155,  167. 


46    TECHNIQUE  IN  KONRAD  FERDINAND  MEYER' S  NOVELLEN 

Jenatsch.  They  are  iriore  like  the  dreams  of  real  life  in  mingling  past 
and  future  events  in  a  confused  scene.  ^  Neither  Waser  nor  Jenatsch  is 
superstitious  or  inclined  to  fatalism.  Waser  is  too  orthodox  a  Protestant 
and  Jenatsch  says  he  can  make  nothing  out  of  it.^  There  are  happenings 
in  the  external  world  which  seem  ominous  to  the  people.  The  bell-tower 
of  St.  Luzi  falls  when  Jenatsch  rides  through  the  gate.  The  fierceness  of 
the  rare  spring  lightning  is  held  to  be  "der  Strahl  des  Gerichts."^  Even 
Waser  wishes  Jenatsch  to  lead  a  quiet  life  "um  den  Neid  der  Gotter  und 
der  Menschen  nicht  zu  reizen."4  The  foreshadowing  of  Jenatsch's 
treachery  has  already  been  noted,  s  Rohan's  confidence  is  not  great 
enough  to  prevent  forebodings  of  misfortune.'^  Wertmiiller  has  his  sus- 
picions of  this  strange  man.  7  The  general  misunderstanding  and  doubt 
regarding  Jenatsch's  conduct  produces  greater  suspense  in  proportion  as  it 
increases  toward  the  end  of  the  book.  In  view  of  the  catastrophe, 
Lucretia's  simple  words  about  her  fears  for  Jiirg  when  captured  by  the  Span- 
ish soldier:  "Hatf  ich  dich  lieber  mit  eigner  Hand  getotet,"^  become  sig- 
nificant. It  is  one  of  the  glimpses  of  her  hidden  strength  and  of  her 
love  for  Jenatsch,  which  make  her  dare  anything  for  his  sake.  Definite 
allusions  to  the  fate  idea  are  quite  unimportant.  The  word  "Schicksal" 
is  used  but  few  times,  only  three  times  with  any  deep  import.  ^  Jenatsch's 
own  consciousness  of  the  arbitrary  way  in  which  he  has  gained  his  ends, 
as  shown  in  his  reminiscent  conversation  with  Waser,  ^°  is  a  preparation  for 
the  final  scene. 

Repetition:  Of  words. — As  a  case  of  repetition  of  minor  import  the 
references  to  the  powder  horn  in  Book  I  may  be  noted."  It  secures  a 
bed  for  Waser,  who  carries  it  to  Blasius  Alexander.  It  is  recognized  by 
Jenatsch,  left  at  Alexander's  before  the  popular  uprising,  and  he  uses  it 
when  loading  his  musket  to  fire  at  the  people.  The  frequent  allusions  to 
Richelieu  form  an  external  means  of  motivation." 

Of  point  at  issue. — Repetition  of  the  words  "Verrat"  and  "Verrater"^^ 
with  the  allusions  to  Judas  emphasize  the  theme: 

I  Jiirg  Jenatsch,  pp.  29,  31-33,  67,  182,  319. 

"  Ibid.,  p.  67.  3  Ibid.,  p.  331.  4  Ibid.,  p.  332. 

s  Ibid.,  pp.  167-72,  201,  211,  232,  235,  and  Lucretia's  remark,  p.  244. 

6  Ibid.,  pp.  203,  218  ff.,  223.  9  Ibid.,  pp.  150,  156,  192. 

7  Ibid.,  pp.  252,  253,  256.  1°  Ibid.,  pp.  305,  306,  333,  334. 

8  Ibid.,  p.  321.  "  Ibid.,  pp.  30-31,  34,  43.  59.  76- 

i»  Ibid.,  pp.  169,  170,  171,  198,  203,  219,  222,  226,  227,  228,  243,  266,  270,  273, 
278,  280,  304,  309. 

13  In  all  II  times:   pp.  228,  257,  261,  271,  273,  279  (2),  280  (2),  290,  316,  327. 


^  IRSiTY 

Of 


PLOT  47 

Und  es  trat  ein  Judasgedanke  aus  seiner  Seele  und  stand  plotzlich  in  so  naher 
Haszlichkeit  vor  seinem  Angesichte,  dasz  ihn  schauderte.     Aber  er  sagte  sich 
mit  einem  sichem  Lacheln:    "Der  gute  Herzog  wird  mich  nicht  durchschauen, 
wie  sein  Gott  den  Judas"  (p.  222). 
Pfarrer  Saluz  preaches  on  the  text : 

Den  Verrat  des  Judas  Ischariot.   Matthaus  am  sechsundzwanzigsten !  (p.  261). 

Aus  Euem  Judasarmen  (p.  271). 

Hat  erst  einmal  der  Judas  seinen  Lohn  empfangen  (p.  280). 

Of  moral  idea. — Again,  running  through  the  whole  story  is  the  idea  of 
retribution,  to  which  attention  is  called  by  the  word  "Rache"  repeated  ten 
times,  besides  such  compounds  as  "Blutrache"  and  "  Rachegedanken, " 
and  "Siihne"  five  times.  Rohan's  words  to  Lucretia  give  the  Christian 
standpoint : 

Anders  verhalt  es  sich  mit  dem,  was  Ihr  Siihne  nennt.  Bedarf  es  einer  sol- 
chen,  so,  glaubt  es,  wird  sie  nicht  ausbleiben.  Unser  ganzes  Leben,  ja  das  Leben 
der  Menschheit  seit  ihrem  Anfange  ist  eine  Verkettung  von  Schuld  und  Siihne. 
Schwer  aber  ist  es  dem  menschlichen  Kurzblicke  die  richtige  Vergeltung  zu 
wahlen,  und  sicherer  in  jedem  Falle,  Frevel  durch  Opfer  der  Liebe  zu  tilgen,  als 
Gewahtat  durch  GewaUtat  zu  rachen  und  so  Fluch  auf  Fluch  zu  haufen.  .  .  .  • 
Denn:  Ich  will  vergelten,  spricht  der  Herr! 

Another  case  of  word  repetition  is  that  of  "Beil,"  either  alone  or  in  com- 
pounds such  as  "Todesbeil."  It  is  repeated  seven  times.  This  fascinates 
our  curiosity  till  we  behold  the  final  catastrophe  with  a  feeling  of  both  horror 
and  relief. 

Of  situation. — Most  suggestive  is  the  change  of  Lucretia's  feeling  for 
Jenatsch: 

Sie  fragte  ihr  Herz,  wie  es  denn  moglich  sei,  dasz  Jiirg  in  seiner  wildesten 
blutigsten  Zeit  ihrem  Gefiihle  und  Verstandnisse  weniger  fremd  gewesen,  als 
jetzt,  da  er  in  den  Raten  des  Landes  und  im  Heerfolge  des  franzosischen  Herzogs 
unter  die  Geachteten  und  Angesehenen  zahlte. 

She  concludes  that  his  early  feelings  for  her  have  changed  (p.  239), 

Auch  Georg  Jenatsch  erschien  ihr  in  einem  andem  Lichte;  ihr  Vertrauen  auf 
seine  reine  Vaterlandsliebe  wurde  von  dem  allgemeinen  Ekel,  den  sie  empfand, 
angefressen  und  ihr  Glaube  an  die  Einheit  seines  Wesens  erschiittert,  ohne  dasz 
sie  augenblicklich  sich  ganz  bewuszt  wurde,  wie  durch  diese  Zweifel  ihr  Verhaltnis 

zu  ihm  sich  innerlich  triibe  (p.  294) 

Noch  einmal  war  eine  Verwandlung  mit  ihm  vorgegangen !  Was  heute  aus 
seinen  Augen  blitzte  war  nicht  mehr  der  jugendliche  Uebermut  von  friiher,  war 
nicht  die  vor  keinem  Hindernisse  zuriickweichende  Sicherheit,  mit  welcher  er, 
seit  sie  ihn  wieder  kannte,  ihr  entgegen  getreten,  es  war  etwas  Maszloses  in  seinem 
Wesen,  eine  gereizte  Gewaltsamkeit  in  seiner  Stimme  und  Haltung,  als  hatte 


48         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

eine  iibermenschliche  Kraftanstrengung  ihn  aus  dem  Geleise  und  uber  die  letzten 
seiner  Natur  gesetzten  Marksteine  hinausgeworfen  (p.  295). 
What  more  convincing  proof  of  Jenatsch's  deterioration  could  there  be  than 
this  admission  wrung  from  the  heart  of  the  woman  who  loves  him, 

0/  sounds. — Other  formal  elements  of  style  may  aid  the  suspense,  as, 
for  example,  the  repetition  of  sounds,  which  reveal  the  emotion  of  the 
speaker.     Note  the  pectorals  and  aspirates  in  the  following: 

"Gerechter  Gott!  Und  Ihr  habt  Beweise  dafiir  ?"  rief  Waser,  dem  es  schwiil 
wurde,  sprang  auf  und  schritt  in  dem  kleinen  Gemache  besturtzten  Gemiits  auf 
und  nieder.' 

and 

"O  Schmach,"  brach  Jenatsch  los,  "von  einem  solchen  Schurken  zu  Seines- 
gleichen  gezahlt  zu  warden!"* 

Observe  the  variety  and  range  of  sounds  repeated  in  the  next: 

In  Verzweiflung  richtete  sie  sich  auf,  sah  Jiirg  schwanken,  von  gedungenen 
Mordern  umstellt,  von  meuchlerischen  Waflfen  umzuckt  und  verwundet,  rings 
und  rettungslos  umstellt. 3 

Mark  the  mixture  of  craft  and  fear  expressed  by  the  aspirates  in  this 
sentence : 

Du  Stab  und  Stecken  meines  Alters  wirst  mir  nicht  zwischen  diesen  zittem- 
den  Handen  zerbrechen.'* 

There  is  also  quick  passionate  movement  in  this: 

Er  stiesz  einen  Schrei  aus,  ergriff,  schleuderte  sie,  sah  sie  im  Gewitterlichte 
gegen  den  Felsen  fahren,  taumeln,  tasten  und  ihre  Kniee  unter  ihr  weichen.s 

Use  of  short  sentences. — Short  sentences  may  also  aid  the  suspense,  as 
in  this  case: 

Die  Truhe  war  leer.     Lucretia  erbleichte.^ 
The  reader  sympathizes  with  Lucretia' s  anxiety  for  Jenatsch.      Some- 
times such  a  sentence  constitutes  a  paragraph: 

Jetzt  entschlosz  er  sich  dazu.' 
This  contains  in  concentrated  form  all  that  this  decision  meant  to  Jenatsch, 
and  is  an  example  of  Meyer's  suggestiveness. 

Suspense  in  "Angela  Borgia." — It  has  already  been  suggested  that  in 
Meyer's  last  work,  Angela  Borgia,  there  is  a  manifest  weakening  of  his 

I  Jiirg  Jenatsch,  p.  159.  s  Die  Richterin,  p.  370. 

*  Ihid.,  p.  284.  ^  Jiirg  Jenatsch,  p.  320. 

3  Ibid.,  p.  351.  7  Ihid.,  p.  232. 

4  Die  Hochzeit  des  Monchs,  pp.  28,  29. 


PLOT  49 

powers:  that  the  fate  idea  is  too  prominent.  That  is,  the  characters,  par- 
ticularly Duke  Alphonse  and  Bembo,  have  too  clear  a  prophetic  vision. 
The  Strozzi-Borgia  episode  is  thus  foreshadowed: 

Das  Wiederkommen  Casars  ist  Eure  Schicksalsstunde  (p.  29). 

Und  habt  Ihr  menschliche  Werkzeuge  angewandt,  um  Euch  mit  dam  Bruder 
zu  verbinden,  opfert  sie  unbedenklich  und  gebet  sie  der  Rache  des  Herzogs  preis 

(P-  30)  • 

Unserer  erlauchten  Fiirstin,  fiir  deren  einziges  Lacheln  der  verliebte  Grosz- 
richter  Herkules  Strozzi  Ehre  und  Seele  verkauft  (p.  34) . 

Dasz  ich  die  Gesetzlose  lieben  musz,  ist  Schicksal  (p.  46). 

Offenbar  hatte  er  es  eilig,  aus  der  Nahe  eines  Menschen  wegzukommen,  der 
nach  seiner  fasten  Ueberzeugung  einem  dunkeln  Schicksal  verfallen  war  (p.  60). 

After  predicting  Strozzi's  relations  to  Caesar  Borgia,  the  duke  says : 

Ich  werde  Euch  richten,  nicht  oflFentlich,  denn  es  ist  eine  Familiensache  und 
eine  Staatssache,  die  beide  das  Geheimnis  fordem.  Man  wird  Euch  tot  auf  der 
Strasze  finden  (p.  71). 

This  unusual  power  of  prophecy  weakens  the  illusion  although  there 
is  no  question  as  regards  its  effect  in  securing  greater  unity.  Yet  it  is  to  be 
remembered  that  this  was  an  age  when  people  held  all  manner  of  fatalistic 
beliefs.  Lucretia's  reputation  was  widespread  and  the  Borgia  fascination 
was  already  known  to  be  fatal.  Moreover,  these  lesser  rulers  exercised 
absolute  sway  in  their  own  jurisdiction,  and  that  Alphonse  d'Este  should  in 
this  cold-blooded  way  set  forth  his  course  of  action  is  quite  in  keeping  with 
his  character  as  the  governor  who  would  render  strict  justice. 

In  each  case,  then,  whether  by  arousing  the  reader's  curiosity  or  by 
evoking  his  sympathy,  the  means  of  securing  suspense  are  derived  from  the 
conception  of  the  characters  and  of  their  interrelations.^ 

UNITY 

Intercalations. — The  various  Novellen  present  some  instances  of  inter- 
calations. These  take  the  form  mainly  of  letters  and  lyrics.  The  few 
stories  inserted  have  an  organic  connection  with  the  Novelle  in  which  they 
occur.  That  told  by  Ben  Emir  in  Angela  Borgia  is  used  to  motivate  the 
main  action  and  is  interpreted  by  each  of  the  characters  to  suit  his  own 
mood.  The  story  of  Prince  Moonshine  in  Der  Heilige  is  an  instance  of 
Meyer's  employment  of  parallelism,  and  serves  to  emphasize  the  main  idea.  \ 
The  outer  appearance  and  mental  qualities  of  the  prince  resemble  those  of 
Becket  so  closely  that  the  reader,  like  Hans,  pursues  the  analogy  to  the      | 

I  Cf.  Otto  Ludwig,  Schr.  V,  or  Stud.  I,  p.  251:  "Alles  musz  von  der  individuellen  I 
Gestalt  ausgehen  und  wiederum  auf  sie  ausmiinden;  selbst  die  Spannttfig  musz  an  das  \ 
Charakteristische  der  Gestalt  sich  kniipfen." 


50    TECHNIQUE  IN  KONRAD  FERDINAND  MEYER'S  NOVELLEN 

conclusion  that  evil  will  befall  the  king  who  is  forsaken  by  so  wise  a 
counselor. 

The  author  has  given  in  Jilrg  Jenatsch  an  excellent  imitation  of  a  broad- 
side. It  is  the  announcement  of  Rohan's  death,  read  by  Sprecher  to  the 
people.  Its  introduction  has  a  dramatic  effect.  By  describing  Rohan's 
heroic  end,  it  also  counteracts  the  effect  of  his  weakness  shown  in  Chur  and 
shows  him  as  a  martyr  for  his  principles.  This  book  likewise  contains  the 
articles  of  the  various  treaties  about  which  the  plot  turns  and  several  letters, 
but  all  have  an  essential  connection  with  the  main  theme.  Sometimes  Meyer 
reproduces  parts  of  actual  letters  written  by  the  historical  characters,  as 
in  the  case  of  Caesar  Borgia's  letter  to  Lucretia.  This  secures  additional 
realism. 

Among  the  many  lyric  passages  inserted,  every  one  is  used  symbolically. 
As  evidence  may  be  cited  the  sonnet  written  by  Pietro  Aretino  to  Victoria 
Colonna,  and  even  the  line  quoted  by  Jenatsch  just  before  the  catastrophe, 
when  Fausch  asks  for  his  text: 

Selig  lebt  und  freudig  stirbt 
Wen  die  Lieb'  umfangen!^ 

The  reversions  found  in  the  narratives  are  concise,  explanatory  of  the 
characters  and  situations,  and  introduced  at  the  points  where  they  fit  most 
naturally.  Waser's  recollection  of  Jenatsch  as  a  schoolboy  shows  us  Jiirg's 
character  before  it  is  distorted  by  ambition  and  desire  for  revenge.  There 
are  no  independent  episodes  or  digressions.  Such  an  episode  as  Hans' 
meeting  Bertram  de  Born  while  accompanying  Richard  to  seek  Becket  is 
treated  artistically  but  entirely  subordinate  to  the  main  theme,  which  it 
foreshadows.    Situations  are  used  to  illustrate  the  motives  of  the  characters.^ 

Repetition. — There  is,  then,  practically  no  force  which  would  weaken  the 
unity.  Positive  aids  are  the  maintenance  of  a  persistent  point  of  view,  un- 
broken motivation,  and  the  converging  action.  Repetition  also  strengthens 
the  unity.  This  may  consist  of  words,  as  in  the  use  of  epithets,  or  of  longer 
phrases.  Thus  in  Jilrg  Jenatsch,  the  repetition  of  "Auf  Riedberg  wird 
kein  Hochzeit  gefeiert"^  emphasizes  the  bounds  set  to  Jiirg's  accomplish- 
ment of  his  desires.     The  repetition  of  scenes  and  of  actions  is  of  more  value. 

I  Jilrg  Jenatsch,  p.  349. 

»  "The  stronger  a  man's  nature  is,  the  more  apt  are  the  deep,  unconscious  motives 
to  come  to  the  surface.  The  writer  who  divines  the  circumstances  which  bring  into 
action  motives  of  this  obscure  character  attains  the  highest  unity,  because  there  is  a 
harmony  between  the  actions  of  his  characters  and  the  more  complex  laws  of  human 
nature." — ^Johnson,  Elements  0}  Literary  Criticism,  p.  41. 

3  Jiirg  Jenatsch,  pp.  296,  348. 


'     '  I      PLOT  "51 

Thus  Jenatsch  is  twice  represented  as  left  standing  alone  in  the  midst  of 
the  people:'  once  when  Rohan  leaves  Chur  with  his  army,  and  again  after 
the  death  of  the  duke  has  been  announced  and  Jenatsch  persists  in  demand- 
ing his  fete.  This  is  an  effective  representation  of  his  separation  from  all 
that  had  been  his.  From  the  emphasis  on  similar  parts  through  the  use 
of  repetition  and  parallel  illustration  the  idea  of  the  whole  is  discovered. ^ 

Meyer  manages  the  historical  material,  likewise,  in  a  way  to  secure 
unity.  The  main  action  is  connected  either  with  the  imaginary  characters 
as  in  Die  Hochzeit  des  Monchs  and  Die  Richterin,  or  the  historical  events 
form  the  central  thread  and  fictitious  characters  are  kept  subordinate  as  in 
Der  Heilige. 

Frame-stories. — Another  device  adopted  by  Meyer  for  securing  unity 
is  that  of  the  enveloping  frame.  As  this  form  occurs  so  often, 
it  will  repay  closer  scrutiny.  By  choosing  the  "story  within  a  story" 
form  of  narration,  the  author  is  enabled  to  hide  himself  behind  the 
narrator.  Thus  it  becomes  an  aid  to  objectivity,  since  it  allows 
the  author  to  incorporate  his  own  experience  and  philosophy  of  Ufe 
without  the  intrusion  of  his  own  personaUty.  He  has  a  greater 
command  of  the  means  for  suggestive  characterization,  contrast, 
parallelism,  and  repetition,  all  artistic  devices  which  give  form  and  finish 
to  the  story  as  a  work  of  art.  Moreover,  it  affords  enrichment  of  the 
historical  background,  the  use  of  color  being  harmonized  to  the  dominating 
tone  and  the  light  varying  with  the  mood  of  the  narrator. 

The  alternation  between  the  parts  of  the  frame-story  and  of  the  story 
proper  is  so  cleverly  managed  by  Meyer  as  to  add  considerably  to  the  beauty 
of  the  whole.  In  the  hands  of  an  inferior  writer  the  attempt  might  prove 
disastrous.  This  interweaving  has  been  likened  to  the  ivy  which,  growing 
up  along  the  side  of  a  building,  enhances  its  beauty  and  seems  to  become  a 
part  of  it.  As  Meyer  himself  has  explained,  it  creates  an  idyllic  atmosphere. 3 
The  participation  of  the  narrator  adds  a  sense  of  animation  and  the  manner 
of  telling  the  story  is  made  a  characterization  of  the  story-teller. 

Frame-Story  in  ^'Die  Hochzeit  des  Monchs." — Die  Hochzeit  des  Monchs 
is  an  admirable  example  of  this  form  of  narration.  The  author  has 
introduced  the  enveloping  frame  at  points  which  are  the  natural  divisions 
of  the  actual  story,  and  these  pauses  are  a  distinct  aid  in  creating  suspense. 

1  Ibid.,  pp.  289,  343. 

2  "In  order  to  convey  an  impression  of  unity,  the  mind  groups  complex  wholes 
by  putting  those  together  that  produce  like  partial  effects." — Raymond,  Rhythm  and 
Harmony,  p.  177. 

3  See  above,  p.  31. 


52         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

As  it  has  been  said:  "There  is  no  music  in  a  pause,  but  it  renders  great 
service  in  giving  proper  emphasis  to  music  that  goes  before  and  comes 
after  it."^ 

The  place-setting  of  this  Novelle  is  Verona  at  the  court^of  Can  Grande 
della  Scala,  who  has  extended  his  hospitality  to  Dante.  Seeking  to  warm 
himself,  the  exiled  Florentine  comes  into  the  hall  where  the  court  is  assembled 
about  the  fireplace,  passing  the  time  by  teUing  stories.  The  theme  is  that 
of  the  monk  who  has  renounced  his  vows.  After  a  glance  about  the  com- 
pany, Dante  accedes  to  their  request  to  join  in  the  diversion.  The  starting- 
point  of  his  narrative  is  a  simple  inscription  read  upon  a  gravestone;  his 
characters  he  models  after  the  members  of  his  audience.  This  is  a  most 
happy  invention,  since  it  gives  individuality  to  the  persons  of  this  group, 
and  arouses  greater  expectancy  with  regard  to  the  denouement  of  his  story. 
It  also  serves  to  give  distinctness  to  the  figure  of  Dante  himself,  who,  by 
scarcely  concealed  scorn  or  admiration  of  his  own  creations,  gives  expres- 
sion to  the  bitterness  of  his  experience,  under  the  guise  of  this  recreation. 

The  interruptions  in  Dante's  narrative,  marking  off  the  stages  of  his 
story,  are  at  once  an  illustration  of  his  method  of  constructing  his  plot  and  of 
Meyer's  own  method.  Dante  discovers  new  faces  in  the  company  before  him, 
and  determines  how  he  can  best  combine  these  forces  with  the  others  already 
in  operation.  Note  the  truth  of  the  followingasapplied  to  Meyer:  "Seine 
Fabel  lag  in  ausgeschiitteter  Fiille  vor  ihm ;  aber  sein  strenger  Geist  wahlte 
und  vereinfachte,"^  and  again:  "Dante  schopfte  Atem.  Dann  endigte 
er  in  raschen  Satzen."3  This  may  be  compared  to  Hans'  criticism 
of  his  haste  to  reach  the  end  of  the  story,  when  he  says:  "Die 
Gaule  laufen  rascher,  wenn  es  dem  Stalle  zugeht."^  The  interest  mani- 
fested by  the  characters  in  the  development  of  Dante's  tale  is  made  both  a 
revelation  of  their  mental  states  and  of  the  keenness  of  the  poet's  penetra- 
tion. The  fact  that  the  story  is  actually  told  and  that  his  hearers  interrupt 
with  questions,  admits  comment  by  the  poet  on  his  own  invention.  He 
suggests  the  question  of  the  propriety  of  soliloquy;  he  expresses  his  resent- 
ment at  his  banishment;  and  even  interprets  what  he  has  said  about  histori- 
cal characters  in  the  "Inferno" — all  of  which  make  his  appearance  more 
real. 

The  narrator  of  the  frame-story. — Surely  no  more  significant  person 
than  Dante  could  be  chosen  to  tell  a  story.  It  might  be  said  that  this 
method  has  the  disadvantage  of  presenting  a  great  personality  from  the 
point  of  view  of  an  inferior  personaUty.     Unquestionably,  that  danger  is 

I  Knowlton,  How  to  Write  a  Novel,  p.  66.         3  Ibid.,  p.  153. 

*  Die  Hochzeit  des  Monchs,  p.  90.  4  Der  Heilige,  p.  223. 


PLOT  53 

always  threatening  in  the  treatment  of  great  historical  figures;  the  author 
must  be  equal  to  the  task  he  sets  himself.  But  an  author  who  really  has 
something  to  say  will  be  likely  to  choose  as  the  narrator  of  his  story  one 
suited  to  the  position.  If  he  expresses  his  own  views,  he  would  create  a 
character  of  such  worth  that  he  (the  author)  would  not  be  ashamed  to 
speak  through  him.  Should  the  author  deliberately  choose  a  story-teller 
with  only  a  limited  or  prejudiced  conception  of  his  theme,  it  must  be  that 
his  motive  for  so  doing  would  be  made  as  plain  to  the  reader  as  it  is  in 
his  own  mind. 

Let  us  consider  the  other  story-tellers  Meyer  has  given  us:  Poggio,  the 
humanist  and  author  of  "Facetiae,"  and  Fagon,  the  physician  of  Louis 
XIV,  versed  in  the  etiquette  of  that  court./  They  are  certainly  worthy  of 
the  place.  On  the  other  hand,  there  ia^llans  in  Der  Heilige'^  simple 
Swabian  archer,  but  one  who  has  been/i  monk  and  gained  a  little  learning, 
and  who  does  not  tell  his  story  till  the  close  of  his  nearly  Hfelong  association 
with  two  such  men  as  Becket  and  Henry  II.  And  again,  his  relations  to 
the  two  men  have  been  and  remain  such,  that  his  "Empfinden"  is  "zwei- 
spaltig"  and  his  "Gedanken  bleiben"  "wie  vor  einem  Abgrunde  stehen." 
He  is  also  one  who  can  in  no  wise  be  partisan,  for  the  same  reason  that 
he  was  an  acceptable  servitor  to  the  king:  he  was  neither  Norman  nor 
Saxon.  This  enables  Meyer  to  do  full  justice  to  both  the  chief  characters. 
He  presents  Hans  as  having  a  subtle  bond  of  sympathy  with  Becket  while 
faithfully  serving  the  king;  having  even  a  sense  of  personal  injury  from 
the  archbishop,  yet  admitting  the  wrongs  of  the  latter  and  his  final  victory. 
The  details  of  Becket' s  early  life,  his  rise  and  pride  in  his  exalted  position, 
are  reproduced  in  the  form  of  rumors  which  reach  Hans  on  his  arrival  in  / 
England;  the  reader  is  at  liberty  to  believe  as  much  or  as  little  as  he  will.  - 
Hans  says  it  is  difiicult  to  find  the  "  Goldkom  der  Wahrheit."  /    > 

There  is  a  purely  artistic  question  to  be  raised  as  to  the  relation  between  1 
the  frame  and  the  inclosed  story.  A  frame  with  such  a  great  figure  as  that 
of  Dante'  may  cause  the  story  set  within  it  to  seem  insignificant,  while  one 
with  such  ordinary  constituents  as  Hans  and  the  priest  in  the  simple  room 
in  Der  Heilige  reintroduced  as  a  conclusion  to  the  story  of  the  marvelous 
Thomas  Becket  may  seem  an  anti-climax.  According  to  a  letter  written  to  . 
his  sister  in  1877,^  Meyer  had  concluded  to  tell  the  story  in  propria  persona. 
His  reasons  for  doing  otherwise  have  been  quoted. 3  The  principal 
reason  is  the  one  he  has  numbered  three — to  have  the  testimony  of 
an  eyewitness  as  to  the  greatness  of  this  unique  character.     We  gain  the 

iCf.  Bettelheim,  op.  cit.,  p.  128.  3  See  above,  p.  31. 

'  Cf.  Frey,  op.  cit.,  p.  272. 


54         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

knowledge  of  the  way  in  which  Becket  is  regarded  as  well  as  the  glimpse 
of  his  deeds  in  an  objective  way.  By  this  frame  device  Meyer  has  also 
succeeded  in  maintaining  the  mediaeval  spirit  throughout.  We  may 
compare  the  story  as  a  closely  woven  fabric  with  Thackeray's  Henry 
Esmond,  which  purports  to  be  the  memoirs  of  this  man  who  lived  in  the 
preceding  century  and  presents  its  warrant  for  historical  coloring  in  this 
way.  But  in  either  case,  the  later  history  of  the  principal  actors  must  at 
least  be  indicated,  and  we  find  this  in  Der  Heilige  nicely  intermingled  with 
the  frame,  so  that  there  remains  actually  but  a  page  at  the  end  devoted  solely 
\  to  the  setting. 

Analogous  to  this  arrangement  of  material  is  the  correspondence  and 
balance  to  be  observed  in  the  first  and  last  chapters  of  the  other  stories  giving 
the  frame  e£fect.  These  chapters  of  Die  Richterin  present  the  appeal  of 
Stemma  to  Charles  the  Great,  and  his  appearance  in  person  to  answer  it. 
Die  Versuchung  des  Pescara  opens  in  Milan  with  the  portrayal  of  Sforza's 
fears  and  at  the  close  shows  him  defeated,  yet  protected  by  Pescara.  Das 
Amtdet  contains  an  introduction,  after  which  the  hero  tells  his  story  in  the 
first  person. 

Unity  of  action  implies  consistency  with  the  character  in  each  case,  and 
the  attempt  has  been  made  to  show  that  this  is  true  even  in  the  case  of 
a  book  like  Jurg  Jenatsch  which  has  been  criticized  as  having  too  many 
complications  in  the  action.^ 

I  See  above,  p.  35. 


IV.     MODALITIES  OF  COMPOSITION 

Meyer's  plot  with  its  essential  elements  of  motivation,  suspense,  and 
unity  manifests  certain  characteristic  features  of  presentation  which  are 
here  grouped  under  the  name  of  modalities  of  composition.  It  will  be 
found  that  some  examples  of  these  characteristics  have  already  been  noted 
in  the  discussion  of  other  topics.  But  each  is  of  so  frequent  use  by  Meyer 
as  to  render  separate  mention  of  it  necessary. 

Symbolism. — Meyer  makes  frequent  use  of  symboUsm  for  making  his 
thought  vivid  and  significant.  The  manner  in  which  he  has  directed 
the  comprehension  of  his  characters  by  giving  them  symbolic  names  has 
been  illustrated.'  The  Christian  symbolism  in  Der  Heilige  has  already 
been  observed  under  suspense.*  We  know  that  Becket's  biographers  were 
fond  of  comparing  him  to  the  Saviour,  and  their  accounts  are  often  un- 
trustworthy for  this  reason.  Meyer  has  made  artistic  use  of  this  material. 
Similar  to  this  is  Auguste  Leubelfing's  impression  of  Gustavus  Adolphus' 
appearance  in  Naumburg.3  Angela  Borgia  bears  the  mark  of  the  cross  on 
her  forehead  as  indicative  of  her  meek  and  sincere  desire  for  atonement. 
Victoria  Colonna  refers  to  Michelangelo's  prophets  and  sybils  in  order  to  pro- 
voke an  expression  of  Pescara's  attitude  toward  Morone's  mission.  As  he 
asks:  "Was  predigen  und  weissagen  diese  ?"  she  replies:  "  Sie  bejammem  die 
Knechtschaft  Italiens  und  verkiindigen  den  kommenden  Retter  und  Hei- 
land  I"'*  Thus  Pescara  and  Gustavus  Adolphus  are  shown  us  as  men  who 
could  raise  the  people,  whose  leaders  they  are,  to  victory  over  their  enemies, 
while  Becket  suiBFers  persecution  for  his  loyalty  to  the  church.  The  whole  of 
Die  Versuchung  des  Pescara,  however,  is  symbolic,  and  in  a  double  sense, 
as  Rodenberg  wrote  Meyer,  "im  profanen  und  heiligen  Sinne."5 

Lucretia  Borgia's  new  attitude  in  life  is  emphasized  both  by  her  own 
thought  on  seeing  the  rope  dancer  perform  in  celebration  of  her  entry  into 
Ferrara  and  by  the  interpretation  of  the  figure  of  Cupid  bound  and  with 
torn  wings,  having  lost  his  arrows.  The  widening  stream  of  the  mountain 
brook  is  representative  of  the  breach  between  Jenatsch  and  Lucretia  which 
can  never  be  entirely  stopped.^  The  "Becher"  and  the  "Hifthom"  in 
Die  Richterin  are  organically  connected  with  the  main  theme.   Wulfrin  tells 

1  See  above,  p.  15.  4  Die  Versuchung  des  Pescara,  p.  157. 

2  See  above,  p.  45.  5  Cf.  Langmesser,  op.  cit.,  p.  154. 

3  Gustav  Adoljs  Page,  p.  340.  ^  J'Hi'g  Jenatsch,  p.  191. 

55 


56         TECHNIQUE   IN  KONRAD   FERDINAND   MEYER's   NOVELLEN 

US  the  meaning  of  the  horn's  note,^  and  this  becomes  the  explanation  of 
Stemma's  shrinking  from  its  blast  and  throwing  it  away.  It  is  when 
hearing  it  again,  apparently  sounded  by  supernatural  agencies,  that  she 
reveals  her  secret  almost  mechanically,  as  if  answering  to  its  summons  to 
judgment.  The  Cardinal's  jealousy  in  Angela  Borgia  calls  up  the  image 
of  the  bird  of  prey.  This  is  likewise  a  sign  for  Lauenburg's  revenge  in 
Gustav  Adolf s  Page.^ 

The  symbolic  significance  of  the  lyrics  and  of  Ben  Emir's  allegory  in 
Angela  Borgia  has  also  been  remarked. ^  The  moral  of  the  allegory  is 
applied  to  Lucretia's  life,  to  Giulio,  and  by  Angela  to  the  Cardinal  himself 
who  does  not  conform  to  the  doctrine  he  professes.  This  element  is  poeti- 
cally used  to  awaken  the  reader's  emotion  in  Die  Versuchung  des  Pescara. 
Victoria  Colonna  and  Pescara  have  spent  a  holiday  in  the  harvest  fields 
listening  to  the  reapers'  song  and  each  binding  a  sheaf.  When  Pescara 
finally  succumbs  to  the  efifect  of  his  wound,  he  resembles  "einem  jungen, 
magem,  von  der  Emte  erschopften  und  auf  seiner  Garbe  schlafenden 
Schnitter."4 

A  similar  efifect  is  produced  by  the  description  of  Mouton's  illustration 
of  Ovid  in  which  he  unconsciously  gave  to  the  victim  of  the  Furies  the 
features  of  Julian,  s  Even  Mouton,  the  unlearned,  had  a  dim  perception 
of  Julian's  inner  struggles.  This  mystery  and  suggestive  power  is  also 
manifest  in  Schadau's  dream  on  the  eve  of  St.  Bartholomew,^  a  poetic 
germ  which  the  author  later  developed  in  the  ballad  "Die  Karyatide." 

Ich  meinte  mich  noch  an  die  Eisenstabe  zu  klammem  und  hinaus  zu  blicken 
auf  die  rastlos  flutende  Seine.  Da  plotzlich  erhob  sich  aus  ihren  Wellen  ein  halb- 
nacktes,  vom  Mondlicht  beglanztes  Weib,  eine  Fluszgottin  auf  ihre  sprudelnde 
Ume  gestutzt,  wie  sie  in  Fontainebleau  an  den  Wasserkiinsten  sitzen,  und  begann 
zu  sprechen.  Aber  ihre  Worte  richteten  sich  nicht  an  mich,  sondem  an  eine  Stein- 
frau,  die  dicht  neben  mir  die  Zinne  trug,  auf  welcher  die  drei  fiirstlichen  Ver- 
schworer  gestanden. 

"  Schwester,"  frug  sie  aus  dem  Flusze,  "  weiszt  vielleicht  du,  warum  sie  sich 
morden?  Sie  werfen  mir  Leichnam  auf  Leichnam  in  mein  strommendes  Bett 
und  ich  bin  schmierig  von  Blut.  Pfui,  pfui !  Machen  vielleicht  die  Bettler,  die 
ich  abends  ihre  Lumpen  in  meinem  Wasser  waschen  sehe,  dem  Reichen  den 
Garaus  ?  " 

"Nein,"  raunte  das  steineme  Weib,  "sie  morden  sich,  weil  sie  nicht  einig 
sind  iiber  den  richtigen  Weg  zur  Seligkeit."  Und  ihr  kaltes  Antlitz  verzog  sich 
zum  Hohn,  als  belache  sie  eine  ungeheure  Dummheit 

I  Cf.  Die  Richterin,  pp.  281,  339,  349.         4  Die  Versuchung  des  Pescara,  p.  222. 

'  Gustav  Adoljs  Page,  p.  341.  s  Die  Leiden  eines  Knaben,  p.  229. 

3  See  above,  p.  49.  ^  Das  Amulet,  p.  98. 


MODALITIES   OF  COMPOSITION  57 

Symbolic  paintings  and  statuary  are  frequently  accompaniments  of 
scenes  and  actions  of  corresponding  import.  The  perplexity  of  the  Itahans 
who  gaze  on  the  chess  players,^  Pescara  and  Victoria,  and  the  doubt  regard- 
ing Pescara's  move  make  the  sphinxlike  temperament  of  the  soldier  more 
real.  Abraham  sacrificing  Isaac  looks  down  upon  the  elder  Leubelfing 
who  has  ofifered  up  his  son  to  satisfy  his  boastfulness.^  These  are  examples 
of  harmony.  The  IsraeHtes  eating  manna  in  the  wilderness  form  a  con- 
trast to  the  famished  condition  of  the  people  of  Milan. 3  It  is  fitting  that 
the  figure  of  Justice  beholds  Jenatsch  killed  at  her  feet. 

Meyer  fully  realized  the  value  of  this  kind  of  illustration.  It  is  vivid, 
emphatic,  and  suggestive.  Whatever  the  response  made  by  the  reader, 
there  is  certain  to  be  association  made  with  a  wide  range  of  other  experi- 
ence, enriching  the  context  immeasurably.  The  symbol  and  the  thing 
signified  then  become  indivisible,  one  implying  the  other.  But  the  sense 
of  mystery  and  inexplicableness  abides. 

Suggestiveness  and  compression. — This  suggestive  quality  and  compres- 
sion in  Meyer's  work  deserve  further  attention.  His  careful  selection 
of  details  to  promote  the  development  of  the  theme  gives  a  sense  of  rapid 
movement  which  is  also  sure.  A  succession  of  happenings,  the  sequence  of 
cause  and  eflfect,  are  often  stated  with  great  brevity,  making  an  impression 
by  the  very  lack  of  emphasis.  In  telling  of  the  wounding  of  Trustan  Grim, 
which  is  not  the  important  thing  at  all  and  must  be  hurried  over,  the  words 
used,  however,  convey  a  vivid  picture,  "Ein  Schwerthieb,  ein  Blutstrahl, 
und  der  vom  Leibe  getrennte  Arm  sank  mit  dem  Kreuz  auf  die  Erde."'* 
A  long  sentence  with  a  rapid  succession  of  verbs  produces  this  eflfect  of 
simultaneous  action.  The  king  tries  Hans'  bow  with  his  characteristic 
quickness:  "Nahm,  spannte  sie,  legte  den  Pfeil,  trat  an  das  geofifnete 
Fenster  und  schosz  nach  einer  Krahe."^  Short  sentences  may  be  used  to 
give  the  same  result.  "Argenson  zog  mich  mit  sich  fort.  Wir  stiegen  ein 
und  rollten."^  The  employment  of  brief,  even  incomplete  expressions  in 
the  speech  of  the  enigmatical  Wertmiiller'  and  of  the  busy  executives  like 
Argenson  and  Coligny  is  more  properly  noted  in  the  discussion  of  dialogue. 

Again,  a  few  words  may  invoke  a  long  train  of  thought  or  summarize 
a  situation  completely.    Henry  II  enters  into  Becket's  thought  and  mood 

1  Die  Versuchung  des  Pescara,  pp.  15,  16,  17,  41. 

2  Gustav  Adolf s  Page,  p.  272. 

3  Die  Versuchung  des  Pescaraj'pY'-^i  2- 

4  Der  Heilige,  p.  215.  s  Ibid.,  p.  43. 
^  Die  Leiden  eines  Knaben,  p.  247. 

7  Der  Schusz  v.  d.  Kanzel,  pp.  138,  162,  163,  u.  s.  w. 


58         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER's  NOVELLEN 

as  follows:  '"So  laszt  er  sich  leichter  handhaben,'  ging  der  Konig  auf  den 
Gedanken  seines  Kanzlers  ein.""^  Schadau's  simple  statement:  "Der  Tote 
lag  mir  auf  der  Seele,"^  needs  no  amplification.  Pere  Tellier's  attitude 
toward  the  world  is  significantly  expressed:  "Ein  Unrecht  bekennen  und 
siihnen!  Der  Jesuit  knirschte  vor  Ingrimm."^  Jenatsch's  sudden  anger 
is  anticipated  by  the  comment  on  Serbelloni's  speech:  "Das  war  ein  unzei- 
tiges  Wort."'*  Wulfrin's  horror  at  his  own  thoughts  and  his  audacious 
utterance  is  attributed  to  the  echo :  " '  Palma  mein  Weib !'  Das  Echo  entsetzte 
sich  und  verstummte."5  The  imagination  is  able  to  supply  the  details 
of  the  carnage  in  Paris,  when  Schadau  says:  "Blutgeruch  erfiillte  das 
Haus.'"^  Sometimes  this  ellipsis  occurs  in  the  form  of  a  succession  of 
nouns,  as  in  the  description  of  Auguste  Leubelfing's  emotions  in  her 
proximity  to  the  king: 

Eine  Jagd,  cine  Flucht  siiszer  und  stolzer  Gefuhle,  qualender  Befiirchtungen, 
verhehlter  Wonnen,  klopfender  Pulse,  beschleunigter  Atemzuge,  soviel  nur  eine 
junge  Brust  fassen  und  ein  leichtsinniges  Herz  genieszen  kann  in  der  Vorstunde 
einer  totenden  Kugel  oder  am  Vorabend  einer  beschamenden  Entlarvung!^ 

Parallelism. — Meyer  takes  cognizance  of  the  habit  of  the  imagination  to 
look  out  for  resemblances  rather  than  for  differences,  and  that  it  is  not  satis- 
fied with  likenesses  between  parts  but  seeks  to  find  similar  wholes.  Many 
instances  of  paralleUsm  are  to  be  found  in  the  Novellen.  In  Der  Heilige 
j/Hans  tells  the  story  of  his  own  life  as  an  introduction  to  that  of  the  new  saint, 
^  because  of  the  close  connection  of  his  life  with  Becket.  He,  too,  has  been  a 
monk  and  has  a  knowledge  of  literature,  has  traveled  and  lived  among  the 
Moors.  The  fate  that  overtook  his  sweetheart  is  but  a  forerunner  of  that 
which  causes  Becket's  anguish.  He  is  moreover  characterized  by  loyalty 
even  as  Becket  is.  Hans  and  his  rival,  Trustan  Grim,  become  the  followers 
of  the  king  and  the  archbishop  respectively.  Both  are  witnesses  of  the  latter's 
death  and  both  try  to  save  him.  Later  both  go  on  a  pilgrimage.  The 
fable  of  Prince  Moonshine  is  but  an  epitome  of  our  novel.  Hans'  immediate 
application  of  the  story  is  to  his  own  departure  from  Cordova.  The 
story  is  compared  to  that  of  Becket's  father  and  mother  in  point  of  improba- 
bility. It  is  also  to  be  noted  that  the  immediate  events  of  Becket's  death 
are  told  by  Hans  at  the  same  hour  at  which  he  died  and  on  the  anniversary 
of  the  event. 

The  risk  of  exposure  which  Auguste  Leubelfing  runs  is  shown  objectively 
I  Der  Heilige,  p.  127.  s  Die  Richterin,  p.  374. 

»  Das  Amulet,  p.  72.  6  Das  Amulet,  p.  108. 

3  Die  Leiden  eines  Knaben,  p.  255.  7  Gustav  Adolf s  Page,  p.  291. 

4  Jilrg  Jenatsch,  p.  305. 


MODALITIES   OF  COMPOSITION  59 

through  her  knowledge  of  Gustavus  Adolphus'  feelings  regarding  such  cases 
and  his  treatment  of  Corinna.  His  unconscious  habit  of  repeating  for  her 
benefit  tales  that  would  interest  a  girl  rather  than  a  boy  makes  the  danger 
seem  more  imminent.  His  own  daughter,  too,  deceives  him  as  Auguste 
does.  Stemma's  force  of  will,  which  upholds  her  so  long,  could  not  be  appre- 
ciated without  the  story  of  Faustine.  There  is  also  a  suggestion  of  parallel 
situation  between  Wulfrin  and  Faustine.  The  comment  of  Fagon  on 
Julian's  death  as  an  echo  of  JuHan's  speech  about  his  friend  Guntram^ 
forms  an  artistic  conclusion  to  the  story  in  its  simplicity,  brevity,  and 
utter  absence  of  straining  after  effect.  Just  as  in  life  one  gets  a  new  sense 
of  the  triviality  or  falseness  of  his  aims  and  views  by  hearing  them  uttered 
by  others,  so  in  literature  a  truer,  firmer  appreciation  of  what  a  character 
stands  for  is  gained  from  this  objective  method  of  explanation. 

Objectivity. — Features  of  Meyer's  style  thus  far  mentioned,  symbolism, 
parallelism,  and  the  representation  of  mental  states  by  the  use  of  dreams  and 
visions,  conduce  to  a  rare  objectivity  of  treatment.  He  aimed  to  hide  his  own 
personahty  completely  behind  that  of  his  characters.  He  could  not  give 
utterance  to  his  inmost  thoughts  simply  for  their  own  sake;  even  his  lyrics 
have  this  objective  quality.  He  has  expressed  the  feeling  that  his  lyrics 
were  not  true  in  their  essence,  that  only  under  the  dramatic  mask  could  he 
be  true;  where  he  objectivates  his  experience  into  action  rather  than  dis- 
closes its  incompleteness.^  Thus,  as  in  the  case  of  Kleist,  his  modesty 
has  been  the  force  which  has  stamped  his  stories  with  the  dramatic  impress. 
He  does  not  comment  on  the  events  he  depicts  or  on  the  actors  in  them. 
He  adopts  the  vieAvpoint  of  the  characters.  They  express  opinions,  but 
such  as  are  appropriate  to  their  nature.  It  is  because  these  characters  are 
creations  and  have  each  his  peculiar  individuality  that  we  are  able  to  see  them 
in  action  and  hear  them  speak.  We  get  information  about  characters  and 
events  only  as  they  themselves  do.  Meyer's  nature  responded  to  a  wide  range 
of  stimuU.  We  have  already  observed  this  in  his  understanding  of  the 
people  with  whom  he  came  in  contact.  It  was  as  true  of  his  emotional 
and  imaginative  experience.  This  response,  however,  did  not  express 
itself  as  emotion,  but  by  giving  to  the  characters  he  created  the  hue  and 
trend  of  his  own  mind.  Holzamer  expresses  this  idea  in  the  words:  "Sie 
[the  characters]  tragen  die  Handlung  wie  ein  Gewand,  und  das  Gewand 

I  Die  Leiden  eines  Knaben,  pp.  223,  267. 

'  "  Wahr  kann  ich  nur  unter  der  dramatischen  Maske  al  fresco  sein.  Im  Jenatsch 
und  im  Heiligen  (beide  urspriinglich  dramatisch  konzipiert)  ist  in  den  verschiedensten 
Verkleidungen  weit  mehr  von  mir,  meinen  wahren  Leiden  und  Leidenschaften,  als  in 
dieser  Lyrik." — Letter  to  Luise  v.  Franjois;  quoted  by  Langmesser,  op.  cit.,  p.  126. 


6o         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER's   NOVELLEN 

macht  die  Personlichkeiten  aus  ihnen,  als  die  sie  erscheinen,"^  While 
they  are  individual,  they  make,  nevertheless,  a  universal  appeal.  For 
this  embodiment  of  the  typical  features  of  the  age  and  of  human  experi- 
ence, it  has  been  said  that  Angela  Borgia  is  the  most  objectively  treated 
of  any  of  his  works.*  The  characters  are  here  shown  in  their  relation  to 
the  natural  milieu.  The  author  has  shown  us  in  his  plan  for  Der  Heilige 
his  method  of  making  the  individual  case  universal.  His  problems  are 
none  the  less  vital  because  he  clothes  them  in  mediaeval  garb. 

Subjectivity. — When  it  is  said  that  Meyer's  characters  utter  thoughts 
appropriate  to  their  own  experience,  it  must,  on  the  other  hand,  be 
admitted  that,  inasmuch  as  they  embody  various  sides  of  Meyer's 
own  nature,  the  words  they  speak  may  often  voice  his  sentiments 
and  their  attitude  is  quite  probably  his  own  attitude.  He  is  express- 
ing his  own  feelings  when  he  says  that  Ariosto  abhorred  "jedes 
fremde  Eingreifen  in  einen  Seelenvorgang  als  Gewalttat,"  and,  "Denn 
der  Quell  echter  Reue,  das  wuszte  er,  sprudelt  in  heiUgen  Tiefen, 
und  nur  in  der  einsamen  Stille  seines  gottlichen  Ursprungs  waschen 
sich  schuldige  Hande  und  Seelen  rein. "3  This  trait  appears  in  Hans, 
in  Becket,  and  in  the  king,  with  a  slight  variation,4  as  well  as  in  many  others 
already  mentioned,  s  The  frame-stories  contain  observations  of  the  story- 
tellers, particularly  Der  Heilige,  where  Hans'  reflections  detract  somewhat 
from  the  distinctness  of  the  tale.  Dante  and  Fagon  both  voice  a  slightly 
fatalistic  view:  "Das  Gesprach — giebt  es  beschleunigende  Damonen,  die 
den  Steigenden  stlirmisch  emporheben  und  den  Gleitenden  mit  grausamen 
Fuszen  in  Tiefe  stoszen;'"^  "Oft  zeigt  uns  ein  prophetisches  Licht 
den  Rand  eines  Abgrundes,  aber  dann  kommt  der  Witz  und  kliigelt  und 
lachelt  und  redet  uns  die  Gefahr  aus."' 

Although  some  of  the  characters  show  us  Meyer  to  a  greater  degree 
than  others,  yet  he  has  put  himself  into  all.  We  have  his  own  words  to 
prove  that  he  is  to  be  found  in  Morone  as  well  as  in  Pescara.^  He  could 
not  have  depicted  the  violent  passions  of  Henry  H,  had  he  not  felt  the  sweep 
of  passion  within  himself.  Becket  unites  the  qualities  of  the  active  diplo- 
mat and  of  the  passive  idealist  which  the  author  possessed. s"  Meyer's 
objectivity  "wurzelte"  in  his  subjectivity.'" 

1  Holzamer,  op.  cit.,  p.  41.  ■♦  Der  Heilige,  pp.  15,  131,  172. 

2  Ibid.,  p.  51.  5  See  above,  p.  18. 

3  Angela  Borgia,  p.  106.  ^  Die  Leiden  eines  Knaben,  p.  262. 

7  Die  Hochzeit  des  Monchs,  p.  79. 

8  Letter  to  Bovet,  quoted  by  Holzamer,  op.  cit.,  p.  10. 

9  Cf.  Holzamer,  op.  cit.,  p.  9.  ^°  Ibid.,  p.  41. 


MODALITIES   OF   COMPOSITION  6l 

It  is  very  seldom  that  the  author  can  be  discovered  using  a  form  of  expres- 
sion which  reveals  the  viewpoint  of  an  outsider.  The  designation  of  a 
remark  as  "aberglaubisch"^  or  a  comment  upon  the  "wunderbar  freien 
Sprache  des  Jahrhunderts"^  are  found,  but  such  cases  could  be  counted 
on  the  fingers. 

All  of  the  Novellen  have  ethical  significance  and  several  present  the 
theme  of  retribution,  as  in  Jiirg  Jenatsch,  Der  Heilige,  and  Die  Richterin. 
But  none  has  this  tendency  so  developed  as  to  place  the  story  in  the  class 
of  didactic  novels.     It  is  rather  a  matter  of  his  general  philosophy  of  life. 
Meyer  learned  to  symphathize  with  the  Protestant  confession  while  living 
in  VuUiemin's  family.     Again,  the  Reformation  manifested  itself  most 
fully  in   Switzerland.     Thus  the   Protestant   tone  which   pervades  Das 
Amulet,  Jiirg  Jenatsch,  Die  Leiden  eines  Knaben,  and  Gustav  Adolf s  Page 
is  partially  the  reflection  of  the  national  history.     The  national  element  in 
the  author's  work  is  evident  to  one  who  remembers  Das  Amulet,  Jiirg, 
Jenatsch,  Der  Schusz  von  der  Kanzel,  Die  Richterin.     Likewise,  Zurich    ) 
is  the  setting  of  Der  Heilige.     The  Swiss  spirit  of  independence,  of  pre- 
serving existing  privileges  intact,  is  revealed.     The  geographical  position  of    \ 
his  country  between  France  and  Germany  and  Meyer's  own  relations  to  the    [ 
two  peoples  caused  a  certain  feeling  of  conflict.     But  the  triumph  of  the    1 
Germans  led  him  finally  to  ally  himself  with  their  cause. 

Auf  diese  groszen  Begebenheiten,  deren  Wurzeln  und  Vorzeichen  ihn  seit 
seiner  Jugendzeit  beschaftigt  batten,  sind  die  Grundziige  der  allermeisten  seiner 
Novellen  und  vieler  seiner  poetischen  Erzahlungen  zuriickzufuhren.  Sie  ent- 
standen  aus  dem  Wunsche,  die  geschichtlichen  Menschen  der  Vorbereitungsepo- 
chen  in  ihrem  Kampfe  und  siegreichen  Untergange  lebensfahig  und  so,  dasz  ihr 
poetisches  Bild  der  Wirklichkeit  gerecht  wiirde,  darzustellen,  wie  es  die  groszen 
Meister  der  Renaissance  in  Malerei  und  Skulptur  getan  batten.^ 

Romantic  features. — The  very  themes  of  the  Novellen,  the  conflicting 
and  confused  feelings  in  the  human  heart,  the  test  of  loyalty  to  a  higher 
power  or  to  an  ideal,  are  romantic.  His  characters  have  ambitions  and 
desires  that  cannot  be  satisfied,  as  Julian's  to  be  a  soldier,  Jenatsch's 
to  marry  Lucretia.  The  development  of  the  action  must  needs  be  through 
romantic  situations.  Of  these  there  are  many.  We  find  unexpected 
meetings  with  old  acquaintances  or  enemies,  as  of  Schadau  with  his 
former  fencing-master  through  whose  aid  he  effects  his  escape,  and  of 
Jenatsch  with  the  Spanish  lieutenant  and  the  brother  of  the  man  he 
had   thrown  down  in  the  church  in  Berbenn.     He  meets  Lucretia  at 

I  Jiirg  Jenatsch,  p.  330.  3  Betsey  Meyer,  op.  cit.,  p.  75. 

'  Angela  Borgia,  p.  43. 


62         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

Rohan's.  Hans  finds  Trustan  Grim  as  one  of  Becket's  followers. 
Astorre  meets  Antiope  on  the  bridge.  Then  certain  critical  situations 
occur,  as  the  death  of  Boccard  by  the  shot  from  his  friend's  pistol,  Jurg's 
killing  the  father  of  the  girl  he  loves,  her  freeing  him  when  he  is  arrested 
as  a  spy,  Lucretia's  act  of  self-defense  at  Milan,  Pescara's  treatment 
of  the  Swiss  who  has  given  him  his  mortal  wound.  The  author  is  also 
fond  of  horror  scenes.  We  see  Paris  drenched  with  Huguenot  blood, 
Chatillon  crushed  on  the  pavement,  the  death  scenes  of  Planta,  Jenatsch, 
Grace,  Becket,  Gustavus  Adolphus  and  his  page,  Stemma,  Pescara,  Antiope 
and  Astorre,  and  the  general  confusion  at  the  end  of  Die  Hochzeit  des 
Monchs,  as  well  as  the  blinding  of  Giulio  d'Este.  "Bei  Meyer  findet  das 
tragische  Motiv  in  einer  Todesscene  seinen  Hohepunkt.  Diese  Todes- 
scenen  sind  bei  ihm  stets  kiinstlerisch  durchgebildet  und  von  einem 
gesunden  Realismus  getragen."^  These  scenes  are  used  both  as  the  final 
situation  in  a  chain  of  tragic  complications  and  as  an  element  of  release  from 
suffering.  He  does  not  use  them  solely  for  their  own  sake  but  to  complete 
the  idea  of  the  character.  He  did  not  like  what  would  be  called  a  sensation.^ 
We  know,  for  example,  his  real  opinion  of  Jenatsch,  yet  he  was  able  to 
enter  himself  into  what  might  have  been  Jenatsch's  interpretation  of  his 
own  character,  and  make  the  reader  see  him  in  the  best  Hght  possible  and 
as  a  man  with  a  great  deal  of  magnetism. 

Other  romantic  material  is  the  use  of  the  past,  the  love  of  Italy  as  the 
land  of  promise  for  the  artist,  references  to  oriental  wisdom,  the  love  of  beauty 
and  color,  the  supernatural,  fatalistic,  and  miraculous  elements,  the  many 
allusions  to  works  of  art  and  descriptions  of  them,  the  preference  for  evening 
as  a  time-setting,  and  the  use  of  storms  and  sudden  changes  in  weather, 
and  the  frame-story  form.  The  prevailing  tone  in  his  vocabulary  will  be 
discussed  later.  The  descriptions  of  paintings,  as  already  noted,  are  intro- 
duced symbolically,  as  is  the  representation  of  the  Roman  TuUia,  or  of 
Pescara  playing  chess  with  Victoria  Colonna.  The  purpose  is  to  give  an 
understanding  of  the  essence  of  the  character  or  the  situation,  as,  for 
example,  the  description  of  the  "  Schlangensaal "  where  Mw-one  is  detained 
as  a  prisoner.     This  symbolism  is  a  romantic  feature.  ^^«v. 

Meyer  did  not  refuse  to  admjt  the  existence  of  inexplicable  and  myste- 
rious occurrences  in  human  experience.     Helets  Poggio  say: 

Ich  weisz  nicht,  main  Cosmus,  wie  du  vom  Wunderbaren  denkst  ?  Ich  selbst 
denke  laszlich  davon,  weder  aberglaubisch,  noch  vermessen;  denn  ich  mag  die 
absoluten  Geister  nicht  leiden,  welche,  wo  eine  unerklarliche  Tatsache  einen 

I  Greinz,  op.  cit.,  p.  147. 

'  Cf.  Betsey  Meyer,  op.  cit.,  p.  9. 


MODALITIES   OF   COMPOSITION  63 

Dunstkreis  von  Aberglauben  um  sich  sammelt,  die  ganze  Erscheinung,  Mond 
und  Hof — ohne  Priifung  und  Unterscheidung  entweder  summarisch  glauben 
Oder  eben  so  summarisch  verwerfen.' 

But  as  already  suggested,  Meyer  has  the  classic  sense  of  form;  his  work 
is  distinctly  organized  and  concrete.  He  preferred  "edle  Einfalt  und  stille 
Grosze,"  even  as  Becket  preferred  to  gaze  upon  his  statues  of  marble  than 
upon  the  jealous  and  passionate  Queen  Eleanor.  He  gives  rather  a  "real- 
ism of  motives  and  emotions."*  His  characters  do  not,  like  those  of  the 
Romanticists,  lack  character.  They  possess  in  the  highest  degree  the  sense 
of  their  own  worth  and  self-reliance.  The  motives  which  influence  Stemma 
may  not  be  those  of  ordinary  people,  but  they  imply  a  decision  and  resolute- 
ness which  with  her  practical  concealment  of  her  guilt  without  giving  way 
to  vain  regrets  is  not  to  be  paralleled  in  romantic  literature.  The  atmos- 
phere of  the  fable  pervading  the  book  is  in  harmony  with  the  characters, 
as  this  was  a  time  when  superstition  and  personification  of  the  forces  of 
nature  was  common.  We  are,  then,  led  to  the  conclusion  that  Meyer  has 
given  a  realistic  treatment  to  romantic  material.  So  far  as  I  know,  the  only 
expression  of  this  is  to  be  found  in  a  letter  of  Rodenberg  to  Meyer: 

Ich  habe  etwas  ....  in  Ihnen  gefunden,  namlich:  ....  wie  der  roman- 
tische  Zug  in  Ihnen  so  ganz  eigenartig  in  Ihrer  voUkommen  realistischen  Behand- 

lung  gestaltet Ich  mochte  Sie  keinen  Romantiker  nennen,  sondern  einen 

Renaissanzdichter,  genahrt  an  der  Quelle  der  Alten,  wiewohl  alles  in  das  modeme 
Leben  hineinpaszt.^ 

Yet  in  spite  of  any  subjective  and  romantic  traits  found,  it  must  be 
granted  that  in  general  the  words  of  Betty  Paoli  to  Meyer  are  true: 

Das  sind  nicht  die  Anschauungen  und  Empfindungen  eines  einzelnen — es  ist 
gleichsam  die  Stimme  der  Menschheit,  die  wir  in  Ihren  Worten  vemehmen. 
Das  ist  auch  eines  der  Merkmale,  an  denen  Sie  erkenntlich  sind:  die  Abwesenheit 
alles  nur  Personlichen  bei  so  groszer,  scharf  ausgepragter  Eigentiimlichkeit  die 
Sie  auch  eine  nur  Ihnen  angehorige  Sprache  finden  liesz.'^ 

Realism. — In  discussing  the  question  of  realism  in  Meyer's  work,  it  is 
necessary  to  remember  that  the  Novellen  have  historical  sulsjects,  and  a 
consideration  of  the  way  in  which  the  periods  treated  are  portrayed,  will  sup- 
port t^*e  statement  that  his  work  has  realistic  features.  With  the  exception  of 
the  niodern  phraseology — for  which  older  forms  could  hardly  be  substituted 
and  the  novels  remain  intelligible — the  matter  of  the  Novellen  is  a  perfect 

I  Plautus  im  Nonnenkloster,  p.  238. 

'  Frank  Norris,  The  Responsibilities  0}  the  Novelist,  and  Other  Literary  Essays 
(London,  1903),  p.  18. 

3  Quoted  by  Langmesser,  op.  cit.,  pp.  226,  227.         4  Ibid.,  p.  226. 


64         TECHNIQUE   IN  KONRAD   FERDINAND   MEYER'S   NOVELLEN 

mosaic  of  historical  fact.  The  whole  forms  an  exquisite  picture  and  the 
bits  and  colors  fit  and  blend  so  imperceptibly  that  the  mind  perceives  it 
only  as  a  whole,  close  scrutiny  being  demanded  to  detect  the  separate  parts. 
It  is  the  atmosphere  pervading  the  story  which  is  most  appreciated  rather 
than  the  correct  and  varied  use  of  detail.  But  the  illusion  could  not  be  so 
felt,  were  the  details  not  so  carefully  wrought  into  the  picture.  When 
Das  Amidet  appeared,  the  critics  ascribed  to  the  matter  of  the  story  beauties 
which  in  reality  belonged  to  the  work  of  the  artist.^ 

Among  the  variety  of  details  are  the  descriptions  of  architectural  features 
and  of  interiors  colored  by  national  characteristics,  to  be  considered  in 
connection  with  the  other  settings;  the  references  to  important  events 
contemporary  with  the  action  of  the  story,  the  character,  accomplishments, 
or  death  of  celebrated  people,  the  popularity  of  the  works  of  certain  authors, 
the  completion  of  prominent  buildings,  the  names  of  bridges  and  streets, 
the  descriptions  of  wedding  and  funeral  customs,  and  the  attitude  of  the 
people.  Civic  and  national  conditions  are  introduced.  Niirnberg,  we 
are  told,  is  a  " kunstf ertige  Stadt"  and  Leipzig  is  said  to  be  "aufbliihend." 
Hans  speaks  of  the  progress  of  the  arts  and  sciences  among  the  "heathen," 
and  by  contrast  the  ignorance  of  them  in  Germany  is  suggested;  Herr 
Burkhard  has  seen  no  sculpture.  The  court  of  the  Estes  is  "pracht- 
liebend."  The  conduct  of  the  Italian  tyrants  is  easily  imagined  from  the 
account  of  the  prisoners  in  the  dungeons  whose  sighs  are  wafted  upward 
to  the  merrymakers  on  the  balcony  above.  The  religious  dissensions 
become  concrete  through  Poggio's  picture  of  Pope  John's  behavior  during 
the  session  of  the  Council  of  Constance,  and  through  the  conspirators' 
discussion  of  the  great  German  heretic,  Fra  Martino.^  We  also  note 
Hans'  references  to  the  brotherhood  of  the  Beghards  which  prospered  in 
the  Low  Countries  in  the  twelfth  century:  "Mit  keiner  beleidigenden 
Rede  oder  langweiligen  Beghardenpredigt  verdarb  er  seine  Sache."^ 
Herr  Burkhard  says:  "An  jenen  Klisten  wimmelt  es,  wie  verlautet,  von 
Ketzem  jedes  Irrtums,  besonders  von  hartnackigen  Manichaern."^  Even 
a  sense  of  the  comparative  position  of  America  is  gained  from  Pescara's 
reference  to  Cuba  and  Mexico,  s  and  we  learn  Coligny's  plans  to  establish 
an  American  colony. 

Fashions  in  dress,  in  speech,  and  in  pets  form  part  of  the  picture. 
Becket's  long  pointed  shoes  are  mentioned  several  times,  the  men  wear 
their  ladies'  colors,  Morone's  chain  is  a  Lionardo.     The  favorite  meta- 

I  Frey,  op.  cit.,  p.  267.  ■♦  Ihid.,  p.  178. 

»  Die  Versuchung  des  Pescara,  p.  19.  s  Die  Versuchung  des  Pescara,  p.  148. 

3  Der  Heilige,  p.  103. 


MODALITIES   OF   COMPOSITION  65 

phor  of  the  seventeenth^  century  is  said  to  be  the  "zuckender  Blitz."' 
Dante  is  disgusted  with  Can  Grande's  fool,  Pescara's  and  Bourbon's  dogs 
are  ''Windespiele,"  which  were  then  "Modesache."  Even  the  language 
is  realistic  to  a  certain  extent,  inasmuch  as  there  is  interspersion  of  phrases 
from  the  French,  Italian,  or  Latin,  and  use  of  historical  speeches  such  as 
Becket's  protest  against  accepting  the  primacy  and  the  king's  speech 
which  gives  authority  to  the  murderers  to  depart  on  their  errand.'  Quota- 
tions from  the  Koran  and  Hans'  Saracen  greeting  to  Becket  are  realistic 
bits.  The  oaths  employed  are  characteristic  of  the  time.  But  they  are 
used  moderately  as  can  be  seen  from  a  comparison  of  those  found  in  Der 
Heilige  with  Henry's  habitual  ejaculation,  "By  God's  eyes!"  In  the 
Renaissance  Novellen  we  find  classical  allusions.  But  all  of  this  material 
is  kept  in  the  background  and  not  allowed  to  intrude  on  the  interest  in 
the  characters. 3 

The  historical  conflicts  represented,  as,  for  example,  that  between  the 
king  and  the  clergy  in  England,  are  made  so  vivid  that  the  reader  has  a 
lively  interest  in  them  as  dynamic  forces.  The  themes  treated  are  vital 
and  there  is  an  awakened  sense  of  the  universality  and  recurrence  of  experi- 
ence in  different  times  and  among  different  peoples.  The  working  of 
natural  laws  is  discovered  in  their  effects  and  human  nature  is  manifest 
in  its  most  varied  types.  The  peasant  and  the  courtier  are  portrayed  with 
equal  insight.  Motivation  is  to  the  author  the  important  thing;  the  char- 
acters are  always  the  result  of  their  milieu.  He  leaves  it  for  the  reader  to 
pronounce  judgment  on  their  acts.  Truth  and  idealism  are  revealed  in  the 
treatment  throughout.  Although  his  work  is  realistic,  Meyer  also  keeps 
it  on  a  high  level,  giving  his  themes  purity  of  form  and  ethical  significance. 

Insofern  er  das  Stoffliche  zu  groszem,  reinem  Stil  gestaltet,  ist  seine  Kunst 
Idealismus;  insofern  sie  mit  Entfemung  alias  Subjektiven  nach  klarer  Sachlichkeit 
und  Dinglichkeit  strebt,  Realismus.* 

Interpretation  of  history. — The  love  of  history  which  Meyer  inherited 
from  his  father,  and  his  own  later  reading  and  employment  in  translating 
historical  works  had  their  effect  in  his  interpretation  of  the  periods  in  which 
the  scenes  of  the  Novellen  are  placed.     He  says  of  himself: 

Ich  habe  damals  unendlich  viel  gelesen,  mich  leidenschaftlich,  aber  ohne  Ziel 
und  Methode  in  historische  Studien  vertieft,  manche  Chronik  durchstobert  und 
mich  mit  dem  Geiste  der  verschiedenen  Jahrhunderte  aus  den  Quellen  bekannt 

I  Gustav  Adoljs  Page,  p.  296.  '  Der  Heilige,  pp.  133,  200. 

3  Cf.  remarks  on  Charles  Reade's  The  Cloister  and  the  Hearth,  by  Besant,  The 
Art  of  Fiction,  p.  23. 

4  G.  Heine,  op.  cit.,  p.  80. 


66         TECHNIQUE   IN  KONRAD   FERDINAND   MEYER's   NOVELLEN 

gemacht.  Auch  davon  ist  mir  etwas  geblieben:  der  historische  Boden  und  die 
maszig  angewendete  Lokalfarbe,  die  ich  spater  alien  meinen  Dichtungen  habe 
geben  konnen,  ohne  ein  Buch  nachzuschlagen.' 

It  is  precisely  the  "Geist  der  Jahrhunderte "  which  breathes  forth  from 
his  pages,  especially  from  the  Renaissance  Novellen.  The  Renaissance 
appears  to  have  been  an  embodiment  of  Meyer's  inmost  feelings  and  aspira- 
tions. The  varied  expression  of  the  personality,  power,  culture,  love  of 
beauty,  and  appreciation  of  the  intrinsic  worth  of  whatever  claimed  the 
attention  of  this  age,  appealed  to  Meyer  and  awakened  a  response  in  his 
own  heart.  His  insight  into  character  enabled  him  to  sympathize  with  all 
the  different  types  and  minor  gradations  to  be  met  with  in  an  age  of  such 
individual  expression.  He  has  shown  us  the  mental  characteristics  of  his 
people. 

Meyer's  dramatic  sense  and  his  historical  sense  were  equally  strong; 
we  know  that  many  of  the  Novellen  themes  were  first  put  into  dramatic 
form.  So  he  has  not  shown  us  his  characters  merely  as  the  product  of  the 
historical  forces  which  were  in  operation  but  has  likewise  made  their  respec- 
tive fates  the  result  of  their  characters.     This  gives  his  work  unity. 

Actual  historical  events  are  used  as  naturally  as  fictitious  ones.  Some 
inaccuracies  exist,  but  in  every  case  the  unity  of  the  historical  character  is 
preserved.  The  majority  of  these  instances  are  to  be  found  in  Angela 
Borgia,^  the  work  of  his  declining  powers.  On  the  other  hand,  legendary 
material  may  be  used  to  render  a  known  historical  character  more  intelli- 
gible, as  in  the  case  of  Becket.  The  combination  of  conflicting  motives  in 
the  real  man  was  strange  and  scarcely  comprehensible;  Meyer's  version 
shows  the  influence  of  oriental  birth  and  instincts.  The  author's  demon- 
stration of  the  mutual  influence  between  character  and  event,  his  uniting 
particular  facts  with  universal  and  eternal  truths,  joined  with  his  intensive 
knowledge  of  history,  make  his  novels  thrill  with  the  Hfe  of  the  period. 
We  feel  that  these  men  and  women  were  actually  flesh  and  blood,  had 
aspirations,  happiness,  misfortunes,  and  sorrows  like  ourselves. 

The  genuineness  of  the  author's  representations  is  generally  admitted. 

1  Langmesser,  op.  cit.,  p.  23. 

2  Some  of  these  inaccuracies  are:  Giulio  d'Este  was  blinded  in  1506;  Meyer  lets 
Ludovico  Sforza  rule  in  Milan  at  the  time,  whereas  he  had  already  been  in  the  power 
of  the  French  six  years;  Ferrante  did  not  die  till  after  34  years  in  prison;  Giulio  was 
freed  after  53  years,  and  died  two  years  later  at  the  age  of  83;  Angela  married  Count 
Alessandro  Pio  of  Sassuolo.  Cf.  B laser,  op.  cit.,  pp.  117,  118.  On  the  other  hand, 
Meyer  made  very  careful  preparation  for  writing  Pescara,  consulting  Professor  Rahn 
about  the  aspect  of  Milan  and  of  Rome  at  the  time,  architectural  features,  costumes, 
etc.     Cf.  Langmesser,  op.  cit.,  p.  150. 


MODALITIES   OF   COMPOSITION  67 

The  court  of  Louis  XIV  is  as  truthfully  pictured  as  the  contest  between 
church  and  state  in  England;  the  ruder  times  of  Charles  the  Great  as  those 
of  Poggio  and  the  Borgias.  His  romantic  instincts  found  ample  material 
and  liberty  of  treatment  in  the  general  character  and  the  actual  events  of 
these  times.  The  motif  of  the  hero's  death  in  the  prime  of  his  powers  has 
been  mentioned,  but,  with  few  exceptions,  these  catastrophes  are  actual 
occurrences,  which  possess  an  inherent  interest  and  allowed  a  certain  free- 
dom of  treatment. 

The  prevalent  ideas  of  this  age  are  reproduced:  the  emphasis  laid  upon 
personality  and  culture,  a  pagan  and  skeptical  attitude,  and  superstitious 
consultation  of  astrologers  and  others  who  claimed  to  interpret  signs  and 
visions.  The  value  of  the  personality  is  repeatedly  referred  to  in  Angela 
Borgia,  sometimes  with  a  prophetic  insight  on  the  part  of  the  speaker, 
which  is  a  further  evidence  of  the  dechne  of  Meyer's  powers  in  this  book. 
The  Cardinal  speaks  of  "einer  Zeit  des  Zerfalles,  wo  die  Personlichkeit  alles 
ist."^  Victoria  Colonna's  "  Selbstgef lihl  und  mehr  noch  der  Stolz  auf  den 
Wert  ihres  Gatten"*  seem  to  her  to  justify  the  acceptance  of  the  offered 
crown.  Morone  is  an  example  of  double  personality  which  was  to  be  found 
in  the  Renaissance,  as  it  has  existed  ever  since,  but  which  would  have  been 
impossible  in  t!ie  Middle  Ages.  Poggio  says  the  century  "iiberquillt  von 
groszen  MogUchkeiten  und  weiten  Aussichten !  Unser  die  Flille  des  Da- 
seins  I"^  The  consciousness  of  one's  own  power  accompanies  a  compre- 
hension of  the  total  greatness  of  the  age  in  which  one  lives.  The  Floren- 
tines, to  whom  Poggio  has  told  his  "facetia  inedita,"  begin  to  discuss  "die 
Grosze  des  Jahrhunderts."'*  Charles  the  Great  is  said  to  be  "Der  Iphalt 
und  Hohe  des  Jahrhunderts !  Wer  bewundert  ihn  genug?"5  Morone 
tells  Pescara  what  he  will  gain  by  accepting  his  offer:  "Du  beutest  alle  Mog- 
Uchkeiten und  Begiinstigungen  des  Jahrhunderts  aus.'"^  But  these  men  are 
also  aware  of  the  follies  of  their  time.  Giulio  d'Este  exclaims:  "O  Jahr- 
hundert  unverschamter  Wahrheit  und  griindHcher  Liige'.''^  The  group  of 
Poggio's  listeners  is  a  "  Freundeskreise,  wo  die  leiseste  Anspielung  ver- 
standen  und  der  keckste  Scherz  verziehen  wird."^  The  conspirators  in 
Die  Versuchung  des  Pescara  "  waren  die  Sohne  eines  Jahrhunderts,  wo  jede 
Art  von  Verrat  und  Wortbruch  zu  den  alltaglichen  Dingen  gehorte."'  Pes- 
cara calls  the  Italians  "sittenlos."'°    These  people  become  careless  of  human 

I  Angela  Borgia,  p.  75.  ^  Die  Versuchung  des  Pescara,  p.  iii. 

'Die  Versuchung  des  Pescara,  p.  57.         7  Angela  Borgia,  p.  69. 

3  Plautus  im  Nonnenkloster,  p.  88.  *  Plautus  im  Nonnenkloster,  p.  218. 

4  Ibid.,  p.  268.  9  Die  Versuchung  des  Pescara,  p.  32. 
s  Die  Richterin,  p.  358.                               'o  Ihid.,  p.  17. 


68         TECHNIQUE   IN  KONRAD   FERDINAND   MEYER'S   NOVELLEN 

life  and  discuss  the  fate  of  those  about  them  with  unconcern.  Lucretia 
Borgia  says:  "Schenkst  du  mir  den  Strozzi,  Alfonso  ?"'  and  Giulio  pleads: 

"Nicht  wahr,  Bruder Du  totest  mir  meinen  alten  Mirabili  nicht  ?"^ 

The  national  greatness  of  Venice  is  due  in  Grimani's  opinion  to  the  long- 
prevailing  culture. 3  The  Italians  regard  the  Germans  as  barbarians. 
Poggio,  the  humanist,  with  his  love  of  antique  beauty,  his  culture,  and  his 
fatahstic  theories,  is  an  excellent  type  of  this  period.  He  is  fitted  to  tell 
his  story  of  deceit  in  the  monastery  at  a  time  when  the  worth  of  this  type 
of  life  was  being  considered. 

The  wavering  spiritual  attitude  of  the  people  because  of  the  introduc- 
tion of  classical  learning  and  ideas  is  evidenced  in  the  account  of  Victoria 
Colonna's  prayer  in  the  pantheon:  "Sie  fiehte  in  den  christlichen  Himmel 
hinauf  und  nicht  minder  zu  dem  Olympier,  der  iiber  ihr  donnerte,  zu 
alle  dem,  was  da  rettet  und  Macht  hat,  mit  der  wunderlichen  und  doch  so 
natiirlichen  Gottermischung  der  Uebergangszeiten."^  Poggio's  prayer 
is  similar: 

"Wer  du  seist,"  betete  ich  mit  gehobenen  Handen,  "die  Weisheit,  wie  die 
Einen  sagen,  die  Barmherzigkeit,  wie  die  Andem  behaupten — gleichviel,  die 
Weisheit  uberhort  das  Gelobnis  eines  weltunerfahrenen  Kindes  und  die  Barm- 
herzigkeit fesselt  keine  Erwachsene  an  das  torichte  Versprechen  einer  Unniundigen. 
Lachelnd  losest  du  das  nichtige  Geliibde.  Deine  Sache  fiihre  ich,  Gottin.  Sei 
mir  gnadig."5 

Pescara  says: 

Ich  bin  wie  du  und  wir  alle  ein  Bewohner  der  Wirklichkeit,  ein  Kind  der 
Helle,  das  mit  der  antiken  Weisheit  iiber  das  Ende  hinaus  nichts  sieht  als  I<arven 
und  Schemen  und  auf  wogendem  Nebel  die  riesigen  Spiegelungen  wieder  dieses 
unsers  eigenen  und  irdischen  Daseins.*^ 

The  characters  talk  about  their  fate;  they  feel  that  their  stars  are  in 
union  one  with  another. ^  Ezzelino  has  an  astrological  chamber.  Gus- 
tavus  Adolphus  in  his  conversation  with  Wallenstein  would  avoid  the  topic 
which  he  thinks  "ein  Gebiet  ....  wo  das  Blendwerk  der  Holle  sein  Spiel 
trieb."^  Pescara  feels  "dasz  auch  ihn  eine  fatalistische  Stimmung  un- 
widerstehlich  erfaszte,  eine  Gewiszheit  von  dem  Nichts  der  menschlichen 
Plane  und  der  AUgewalt  des  Schicksals."^  But  on  the  other  hand,  Waser, 
the  Swiss  Protestant  of  nearly  a  hundred  years  later,  says  of  astrology: 

'  Angela  Borgia,  p.  184.  4  Die  Versuchung  des  Pescara,  p.  61. 

'  Ibid.,  p.  243.  s  Plautusim  Nonnenkloster,  p.  258. 

3  Jiirg  Jenatsch,  p.  157.  6  Dig  Versuchung  des  Pescara,  p.  109. 

7  Cf.  Becket;  see  also  Gustav  Adolfs  Page,  p.  331. 

8  Gustav  Adolfs  Page,  pp.  329,  330.  9  Die  Versuchung  des  Pescara,  p.  122. 


MODALITIES   OF   COMPOSITION  69 

"Sie  vemichtet  die  menschliche  Freiheit  und  diese  ist  die  Grundlage  aller 
Sittlichkeit."^  Many  popular  beliefs  are  wrought  into  Der  Heilige.  No 
animal  will  eat  from  the  hand  of  Becket's  murderers,  the  copy  of  Virgil 
is  used  by  the  monks  to  determine  their  fate,  witches  are  burned,  Hans  fears 
the  influence  of  the  gargoyle  under  which  Becket  and  Richard  part. 

Picturesqueness. — The  Novellen  present  innumerable  distinct  pictures, 
any  one  of  which  an  artist  might  paint.  Meyer  has  a  fondness  for  bringing 
his  characters  together  at  such  pregnant  moments  as  the  artist  is  advised  by. 
Lessing  to  note  and  select  as  the  fitting  subjects  for  his  brush.  His  love  of 
color,  as  well  as  his  skill  in  grouping,  his  use  of  symbolism,  carelul  attention 
to  detail,  and  the  many  concrete  adjectives  contribute  to  the  effect  of  pictur- 
esqueness. There  is  variety,  but  bounded  by  clear  outlines  and  with 
exclusion  of  irrelevant  details.  ^The  scenes  are  pictured  for  their  own  sake, 
for  the  beauty  or  suggestiveness  that  they  contain,  but  they  are  unclouded 
by  the  movement  of  thought.  The  attention  is  centered  on  a  single  idea. 
The  picture  of  Becket  on  his  way  to  see  Grace  at  the  villa  is  to  throw  a  new 
light  on  his  character.  He  is  seen  here  as  a  father,  who  has  kept  his  child 
free  from  the  contaminating  influence  of  the  world  by  which  he  is  surrounded, 
even  as  the  sacred  vessel  is  guarded  by  the  Knights  of  the  Grail  to  whom 
Hans  compares  him.  This  picture  is  a  good  illustration  of  Meyer's  use  of 
color.  The  grouping  in  the  scene  between  Becket  and  Hans'  master 
shows  variety  with  much  detail,  but  again  with  one  central  thought,  Becket's 
disdain  of  the  Saxon.  /The  pictures  of  the  desolation  of  Paris  and  the 
destruction  in  certain  locaHties,  the  group  of  the  royal  conspirators  on  the 
balcony  awaiting  the  signal  for  the  beginning  of  the  massacre  are  other 
examples.  The  types  of  people  assembled  about  the  false  cross,  and  the 
dancing  abbess*  would  furnish  a  scene  fit  for  the  canvas  of  a  painter  of  the 
Dutch  school. 

Plasticity. — Michelangelo's  works  were  among  Meyer's  deUghts,  and  he 
has  sung  the  praise  of  the  great  artist  in  his  poems.  But  more  than  that, 
the  author  has  adapted  the  sculptor's  manner  to  his  own  artistic  medium. 
The  figure  of  Jenatsch,  for  instance,  becomes  imposing,  and  while  prevented 
from  isolation  by  the  grouping  of  other  figures  about  it,  yet  all  are  distinct 
and  separate,  and  the  impression  of  latent  movement  is  conveyed.  Gasparde 
in  Das  Amulet  does  very  little;  she  is,  however,  a  distinct  figure  and  gives 
the  impression  of  reserved  energy.  The  features  of  parallelism,  symmetry, 
and  balance  accentuate  the  plasticity  just  as  these  elements  are  more 
prominent  in  sculpture  than  in  painting.  Nothing  can  be  taken  away  from 
the  works  as  we  know  them.     They  have  not  only  a  beautiful  surface  but 

I  Jiirg  Jenatsch,  p.  67.  »  Plautus  im  Nonnenkloster. 


70         TECHNIQUE   IN   KONRAD   FERDINAND  MEYER'S  NOVELLEN 

depth  and  contour,  due  to  the  use  of  so  much  real  material  and  the  adoption 
of  the  viewpoint  of  the  characters  themselves. 

Dramatic  features. — The  facts  that  so  many  of  the  Novellen  were  first 
molded  in  dramatic  form  and  that  Meyer  felt  most  free  when  employing  this 
form  warrant  the  search  for  dramatic  features  in  the  stories  as  we  have  them. 
Some  observations  may  be  recalled  from  the  statements  made  about  the 
plot :  the  development  to  a  climax  and  the  swift  falling  action,  the  fact  that 
the  action  springs  from  the  characters,  and  that  the  issue  of  the  struggle 
of  the  character  with  his  environment  or  fate  is  inevitable.  Meyer  has  said 
that  he  always  aimed  to  have  the  single  parts  of  a  developed  motif  lead 
to  a  central  point : 

Bel  der  Ausarbeitung  suche  ich  alles  so  einzurichten,  dasz  die  einzelnen  Telle 
ausnahmslos  auf  einen  und  denselben  Punkt,  d.  h.  den  Mittelpunkt  hinschauen. 
Die  Personen  schildere  ich  moglichst  nur  so,  wie  sic  den  Mithandelnden  erscheinen. 
Danti  halte  ich  vor  allem  darauf,  die  Charaktere  zu  mischen,  weil  sie  das  Leben 
und  die  Natur  mischt.^ 

The  movement  of  the  plot  has  unity  and  directness.  Meyer  did  not 
have  to  exert  so  much  energy  as  Scott  did  to  get  his  characters  into  the 
proper  situations.  His  dramatic  situations  and  conflicts  are  all  inner  ones, 
the  outward  and  visible  effects  being  only  the  results  of  inner  catastrophes. 
His  novels  may  be  compared  in  this  respect  to  the  dramas  of  Grillparzer. 
The  situations  have,  therefore,  intensity  and  emphasis,  as  the  characters 
are  individuals  rather  than  types.  These  inner  contrasts  are  an  essential 
of  the  drama.  We  have  seen  the  characteristic  discontinuity  of  the  manage- 
ment of  the  material  in  JUrg  Jenatsch.  The  objectivity  and  externality 
of  the  treatment  are  also  dramatic.  The  dialogue  never  exists  purely  for  its 
own  sake,  but  to  advance  the  action.  There  is  exceedingly  little  indirect 
discourse.  The  knowledge  of  past  and  intervening  events  is  gained  from 
the  dialogue. 

Classification  as  Novellen. — From  the  lack  of  a  true  English  equivalent 
for  the  German  name  Novelle  and  for  the  sake  of  variety,  this  word  has 
been  retained  and  indiscriminately  alternated  with  the  works  "novel," 
"story,"  "tale,"  in  speaking  of  the  words  under  discussion.  There  is 
diversity  of  opinion  as  to  the  nature  of  the  German  Novelle.  One  thing 
may  be  assumed  with  certainty,  namely,  that  it  is  not  the  same  as  the  recent 
development  of  the  short-story  in  English  or  French.  Many  writers  in 
contrasting  or  comparing  the  Novelle  with  the  Roman,  as  Spielhagen  does, 
seem  to  limit  the  application  of  the  latter  to  stories  which  treat  of  the 
development  of  a  hero  from  youth  through  the  greater  part,  if  not  all,  of  his 

I  Frey,  op.  ciL,  p.  282. 


MODALITIES   OF   COMPOSITION  7 1 

life,  like  Wilhelm  Meister.  It  is  true  the  number  of  such  novels  is  large,  but 
such  a  definition  by  no  means  covers  all  the  themes  which,  when  developed, 
have  a  claim  to  the  name  of  Roman.  Most  critics  do  agree  in  their  observa- 
tions on  the  dramatic  character  of  the  Novelle.  This,  then,  establishes  cer- 
tain requirements.  It  lays  stress  on  unity  of  action  and  of  the  point  of  view. 
The  action  must,  however,  be  interrupted,  not  continuous.  The  fate  of  a 
human  being  is  decided  in  a  single  given  conflict,  or  light  is  thrown  on  some 
contradiction  of  human  life  showing  the  resultant  change  in  the  character. 
Such  a  conflict,  just  as  in  a  drama,  illumines  the  past  and  has  an  outlook 
toward  the  future.  It  accompUshes  a  katharsis,  its  movement  is  a  for- 
ward one,  the  results  are  predominant,  the  donne  is  limited  and  the  char- 
acter-study more  intensive.  The  theme  is  presented  suggestively  through 
concrete  pictures,  so  telling  that  they  fix  themselves  indelibly  on  the  mind. 
It  is  the  attitude  and  opinions  of  the  people  presented  that  are  important. 
Therefore,  as  much  as  possible  is  told  in  dialogue. 

The  Italian  novella  was  originally  an  anecdote,  a  very  simple  literary 
form.  The  modem  short-story  partakes  of  this  anecdotal  nature,  but  it 
does  something  that  the  ItaHan  story  does  not  do.  It  strives  to  produce  an 
effect  by  its  very  form.  The  Italian  \.y\it  might  be  an  attempt  to  tell  some- 
thing striking  and  new,  but  the  general  character  was  artless  and  simple. 
The  German  Novelle  seems  to  be  a  half-way  stop  on  the  road  from  the  one 
to  the  other.  It  has  taken  on  more  narrative  interest  and  far  more  char- 
acter interest.  It,  too,  has  a  simple  germ,  capable  of  development.  As 
the  modern  attitude  differs  in  respect  to  the  increased  interest  in  character, 
we  find  no  limitation  of  the  scope  of  the  Novelle  to  the  treatment  of  "fertige 
Charaktere;"  we  are  often  witnesses  of  the  growth  of  a  character.  Yet 
it  has  been  noted  that  there  are  few  such  instances  in  Meyer's  works;  a 
far  greater  number  of  the  characters  reveal  themselves.  Everything  is 
referred  to  the  central  character.  But  this  is  true  in  the  best  novels.  If 
the  novel  by  reason  of  its  length  allows  the  relations  of  the  central  char- 
acter to  assume  a  broader  range,  to  reach  out  farther  and  embrace  more 
classes  of  people,  nevertheless  this  reference  to  the  central  character  should 
be  found  in  each  case.  Writers,  whose  novels  have  not  merely  human 
interest  but  also  form,  like  Jane  Austen  and  Flaubert,  do  this.  Indeed,  all 
the  features  of  the  Novelle  may  be  found  in  the  Roman,  although  the  latter 
contains  additional  matter  which  is  the  expansion  of  the  plot-germ.  The 
Novelle  is  a  Roman  in  miniature,  the  difference  between  the  two  being 
one  of  length  and  concentration.^ 

I  Compare  Spielhagen's  view  of  the  significance  of  the  Novelle:    "und  will  nur 
noch  hinzufiigen,  dasz  die  Novelle  nach  meiner  Auffassung  die  Grundform  aller  epi- 


72         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

It  is  hardly  necessary  to  make  a  direct  application  to  Meyer's  Novellen. 
From  the  observations  already  made  on  the  characters,  the  themes  of  the 
plot,  and  the  dramatic  nature  of  the  stories,  it  is  possible  to  pick  out  the 
elements  of  the  Novelle  form.  Jiirg  Jenatsch,  the  longest  story,  containing 
I  GO  pages  more  than  Angela  Borgia,  the  next  longest,  has  sufficient  con- 
centration to  warrant  the  application  of  the  name,  although  Meyer  evades 
its  use  by  calling  the  story  a  "Biindnergeschichte." 

schen  Poesie  ist,  auf  welche  dieselbe  auch,  sobald  das  grosze  Epos  ausgesungen,  sofort 
zuriickfallt." — Beitrdge  zur  Theorie  u.  Technik  der  Epik  und  Dramatik,  p.  48,  note. 
"Die  Novelle  gibt  einen  schmaleren  Ausschnitt  aus  dem  Leben,  pragnant  durch 
Charkterbild,  Schicksalswendung  oder  beides;  aber  dies  'schmal'  ist  ein  relativer 
Begriff:  was  schmal  ist  gegeniiber  der  Fiille,  dem  figurreichen  Gesellschaftsgemalde 
des  Romans,  musz  nicht  an  sich  so  oder  so  schmal  sein.  Die  Novelle  hat  der  gezogenen 
Linie  des  Romans  gegeniiber  etwas  Punktuelles,  aber  ihr  Punkt  kann  auch  ein  Kreis 
mit  mehr  oder  weniger  Radien  sein,  je  nachdem  sein  Centrum  beschaCfen  ist:  Centrum 
von  mehr  oder  weniger  Inhaltstiefe.  Die  Novelle  ist  ein  Accent,  geworfen  auf  ein 
Stiick  Leben:  der  Accent  kann  zugleich  Lange  sein." — Fr.  Theod.  Vischer,  Altes  und 
Neues,  3,  357. 


V.     SETTINGS 

Tvme. — Having  followed  the  presentation  of  the  characters  independ- 
ently, it  remains  to  note  their  relations  to  their  milieu.  Meyer  has  depicted 
a  far-away  picturesque  time  when  the  passions  were  allowed  to  find  freer 
expression  and  when  a  single  individual  attained  prominence  over  others 
only  by  unusual  deeds  and  the  exhibition  of  remarkable  traits  of  character. 
The  period  in  which  the  action  of  the  stories  is  placed  is  always  selected  with 
reference  to  the  theme.  His  early  plans  for  Die  Richterin  will  be  remem- 
bered, his  first  intention  being  to  place  the  story  in  the  time  of  Frederick  II. 
But  he  afterward  decided  that  the  ruder  times  of  Charles  the  Great  were 
more  suited  to  the  manifestation  of  these  unrestrained  passions.  This 
agrees  with  our  statement  that  the  "Psychologic  der  Handlung"  was 
ever  the  important  moment  in  Meyer's  work.^ 

As  regards  the  particular  time-settings,  all  the  seasons  are  used  but 
preference  is  shown  for  those  times  of  the  day  favored  by  the  Romanticists: 
the  twilight  of  early  morning  and  of  evening,  and  night ;  starlight  and  moon- 
light often  enhance  the  scene.  Illustrative  of  the  above  are  the  following 
items  taken  from  Jilrg  Jenatsch:  Waser  arrives  at  the  inn  where  he  spends 
the  first  night  of  his  trip,  at  night  and  in  a  storm.  Waking  in  the  night,  he 
overhears  the  plot  against  Jenatsch.  The  peasants  in  the  church  are  terrified 
by  the  supposed  spirit  of  Rusca  in  the  early  evening.  Lucia  is  killed  while 
lighting  the  lamp,  the  moonlight  shining  upon  her  through  the  window  at 
the  same  time.  Jenatsch  meets  Lucretia  at  Rohan's  apartments  in  the 
evening  and  is  arrested  on  his  departure  at  a  later  hour  of  the  night.  His 
conversation  with  Rohan,  when  he  discovers  the  latter's  powerlessness  to 
help  Biinden,  is  in  the  evening.  On  leaving  his  benefactor,  he  wanders 
through  the  village  revolving  the  situation  and  finally  deciding  to  transfer 
his  allegiance.  He  seeks  Lucretia  twice  at  night,  to  ask  her  aid  and  to  get 
her  report.  His  meeting  with  Rudolph  occurs  in  the  moonlight.  We  watch 
him  on  horseback  in  the  storm.  The  sad  final  scene  is  enacted  at  night. 
Night  is  likewise  the  favorite  setting  in  Die  Versuchung  des  Pescara. 

Let  us  ask  if  these  settings  are  used  because  of  their  emotional  value  or 
for  some  other  reason.  The  night  is  the  time  usually  preferred  for  plotting 
by  those  whose  deeds  are  evil ;  it  is  also  the  time  when  the  imagination  is 
more  active  and  belief  in  supernatural  agencies  is  more  apt  to  be  admitted. 
It  is  consistent  with  the  Venetian  policy  that  Jenatsch  is  allowed  to  keep 

I  Cf.  Frey,  op.  cit.,  p.  285. 

73 


74         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER's   NOVELLEN 

his  appointment  with  Rohan  first  and  is  then  arrested,  further  fitting  that 
he  be  arrested  at  night,  as  secrecy  was  one  of  their  especial  requirements. 
If  the  other  incidents  could  have  happened  just  as  well  in  the  daylight,  it 
is  nevertheless  in  keeping  with  the  total  conception  of  Jenatsch's  character 
as  unusual,  and  of  his  deeds  as  prompted  by  passion,  that  he  should  have 
those  experiences  at  unusual  seasons.  In  Die  Versuchung  des  Pescara 
the  night  scenes  in  the  garden  where  the  nature  of  Pescara's  suflfering, 
physical  and  mental,  is  discovered,  harmonize  with  his  attitude  of  resigna- 
tion and  with  the  perplexity  of  his  associates. 

In  Das  Amulet  the  hero  is  thinking  of  the  past,  the  remembrances  of 
which  rise  in  his  mind,  as  the  exhalations  ascend  from  the  moist  earth  in 
the  spring:  "Wie  ich  in  der  Dammerung  meines  Weges  trabte,  stiegen 
mit  den  Diiften  der  Friihlingserde  die  Bilder  der  Vergangenheit  vor  mir 
auf  mit  einer  so  drangenden  Gewalt,  in  einer  solchen  Frische,  in  so  scharfen 
und  einschneidenden  Ziigen,  daszsiemich  peinigten."^  The  falling  snow 
is  used  to  make  Dante's  exile  vivid. ^  Yet  it  is  the  summer  heat  and  the 
noon  hour  which  affects  Wulfrin:  "  Es  kam  die  schwiile  Mittagsstunde  mit 
ihrem  bestrickenden  Zauber."^  The  autumn  seems  to  Angela  to  represent 
Giullo's  misery:  "Der  Nordwind  hatte  einen  Haufen  welken  Laubes 
ergriffen,  wirbelte  es  empor  und  jagte  es  durch  das  Kerkerfenster  zu  dem 
Este  hinein,  sodaszdie  morschen  Blatter  ihn  raschelnd  iiberschiitteten  und, 
wenn  er  danach  tastete,  in  seinen  Handen  zerbrechen  muszten.  Da 
erschien  es  mir  unendlich  grausam,  dasz  die  Natur  dem  Elenden  ihren 
Tod  liber  das  Haupt  streute."^  Meyer  does  not  give  descriptions  of  nature 
simply  for  the  sake  of  the  setting  but  he  interprets  it. 

Shifts  in  time  and  place. — The  shifts  in  time  are  comparatively  fre- 
quent, when  short  stories  Hke  Gustav  Adolfs  Page  are  considered,  but  they 
are  clearly  marked.  The  major  shifts  in  the  place-settings  in  Jiirg  Jenatsch 
coincide  with  the  divisions  into  books;  the  only  exception  being  chapter 
twelve  of  Book  III  where  the  scene  is  laid  in  Milan.  In  the  minor  shifts 
the  reader  accompanies  the  characters,  usually  Waser  or  Jenatsch,  on  their 
progress  from  one  place  to  another. 

Place-settings. — Meyer  has  laid  the  scene  of  some  of  his  stories  in  his 
own  mountain  country.  The  atmosphere  where  elemental  forces  are  most 
powerful  and  unrestrained  is  suited  to  the  development  of  elemental  natures 
which  disregard  the  methods  of  diplomats.     They  are  true  lovers  of  freedom. 

The  greater  number  of  the  place-settings  are  essentially  connected  with 
the  story  the  author  has  to  tell.     The  room  for  choice  is  greatest  in  the  more 

I  Das  Amulet,  p.  6.  3  Die  Richterin,  p.  352. 

»  Die  Hochzeit  des  Monchs,  p.  91.  *  Angela  Borgia,  p.  234. 


SETTINGS  •  ^^^M^- 

imaginative  tales.  The  scene  of  Das  Amtdet  was  laid  in  Paris  where  the 
strife  between  the  different  religious  parties  was  most  bitter.  Plautus  im 
NonnenUoster  the  author  has  connected  with  important  historical  figures 
and  events.  The  tale  of  Die  Hochzeit  des  Monchs  gains  individuality 
from  the  pervading  presence  of  Ezzelin,  and  significance  through  its  narrator 
Dante.  Italy  appeared  to  Meyer  as  a  country  with  many  varied  artistic, 
literary,  and  historical  associations  as  well  as  the  Renaissance  period  in 
particular  for  its  expression  of  the  individuality. 

Interiors. — The  description  of  interiors  is  so  detailed  and  picturesque, 
that  the  scenes  seem  disclosed  to  the  eye  as  by  the  drawing-aside  of  a  curtain. 
The  customs  and  styles  of  various  countries  and  ages  are  truthfully  por- 
trayed. The  Italian  love  of  color  and  joy  in  beautiful  forms,  the  Germans' 
desire  for  comfort  and  the  display  of  it  for  others  to  behold,  the  oriental 
delicacy  and  charm,  soothing  the  senses,  are  all  reproduced.  The  contrast 
between  the  artistic  tastes  of  the  Italian  Grimani  and  the  severe  Ziircher 
Waser  is  shown  in  Waser's  dislike  of  the  radiant  Venus  which  witnesses  the 
conference  of  the  two  men.'  Doctor  Sprecher's  dining-table  is  set  with 
silver  and  Venetian  goblets.  The  very  ornate  paneling  representing  fanci- 
ful scenes  and  crowned  with  the  family  arms,  and  the  story  of  Abraham 
painstakingly  reproduced  in  colors  on  the  white  tile  stove  are  indications 
of  the  doctor's  love  of  that  which  is  massive  and  which  gave  evidence  of  the 
thought  expended  upon  it.*  The  interior  of  Grace's  villa,  with  its  costly 
cushions  and  hangings,  the  cages  of  strange  birds,  the  palms,  and  mosaic 
floors  are  a  mute  testimony  of  Becket's  care  for  the  delight  and  comfort  of 
his  warmth-loving  daughter,  a  captive  for  the  time  in  England's  cold  climate. 
Such  descriptions  give  an  effect  of  vividness.  Many  short  bits  exist  only 
to  serve  this  purpose.  These  include  the  pictures  of  fountains  and  statues 
near  which  important  conversations  take  place.  An  example  is  the  marble 
seat  with  the  figures  of  the  sphinx  carved  upon  it,  where  Pescara  sits.3 

Architecture. — The  author  takes  especial  delight  in  giving  ghmpses  of 
architectural  features;  the  outward  aspect  of  a  building,  Renaissance  or 
Gothic  styles,  Italian  villas,  all  appeal  to  his  artist's  eye.  Here  may  be  cited 
the  descriptions  of  the  palace  of  the  Estes  at  Ferrara,  of  Wertmiiller's  villa, 
and  of  the  villa  prepared  by  Pescara  for  Victoria  Colonna.  Meyer  lets 
Poggio  voice  his  pleasure  in  the  Romanesque  style: 

Der  edle  Rundbogen  der  Fenster  und  Gewolbe,  statt  des  raodischen  Spitz- 
bogens  und  des  narrischen  franzosischen  Schnorkels,  stimmte  mich  wieder  klar 
und  ruhig.4 

I  Jilrg  Jenatsch,  p.  153.  3  Die  Versuchung  des  Pescara,  p.  121. 

'  Ibid.,  p.  323.  4  Plautus  im  Nonnenhloster,  p.  230. 


76        TECHNIQUE  IN  KONRAD   FERDINAND  MEYER' S  NOVELLEN 

The  most  effective  description  of  architectural  detail  is  that  given  by 
Hans  of  the  monastery  where  Richard  meets  Becket : 

Dieser  Kreuzgang  war  voll  Bildwerk  und,  wie  gesagt,  nach  dem  neuesten 
Geschinacke  gebaut.  Seine  Saiilen  waren  mit  reichem  Gesimse  gekront,  auf 
welchem,  in  abwechselnder  Reihe,  je  ein  Geschopf  der  obern  oder  der  untem 
Regionen  sasz,  hier  ein  psallirender  Engel,  dort  ein  lacherlicher  oder  boshaft 
grinselnder  Wechselbalg.  Aber  ich  verwendete  auf  diesen  Zierrat  wenig  Auf- 
merksamkeit,  denn  mein  Auge  wurde  immer  wieder  von  der  Steinbank  im  Kloster- 

garten  angezogen Da  muszte  ich,  wehe,  iiber  den  Hauptem  der  zweie  ein 

steinemes  kleines  Scheusal  erblicken,  das,  auf  dem  Gurt  eines  Pfeilers  hockend, 
niit  seinen  Krotenbeinchen  hohnisch  nach  ihnen  stiesz  und  dazu  die  Zunge  reckte. 
Dieses  miszfiel  mir,  obschon  es  ein  Zufall  v/ar,  und  ich  hatte  die  beiden  ilerren 
lieber  erst  am  nachsten  Pfeiler  sich  scheiden  sehen,  wo  ein  harfenirender  Engel 
seine  Schwanenfittige  ausbreitete.^ 

This  is  evidently  symbolic.  Also  symbolic  is  the  impression  Schadau 
has  of  the  Louvre: 

Das  damals  zur  Halfte  aus  einem  finstern  mittelalterlichen  Kastell,  zur  andem 
Halfte  aus  einem  neuen  prachtigen  Palast  bestand,  den  die  Medicaerin  hatte 
auffuhren  lassen.  Diese  Mischung  zweier  Zeiten  vermehrte  in  mir  den  Eindruck, 
der  mich,  seit  ich  Paris  betreten,  nie  verlassen  hatte,  den  Eindruck  des  Schwanken- 
den,  Ungleichartigen,  der  sich  widersprechenden  und  mit  einander  ringenden 
Elemente.* 

Landscapes. — The  landscapes  are,  as  a  rule,  closely  connected  with 
the  motives,  or  serve  to  give  atmosphere.  To  find  those  which  are  used  as 
background  we  have  to  turn  to  the  Alpine  scenery,  which  is  most  enthu- 
siastically and  lovingly  described.  Yet  in  almost  every  case,  these  contain 
a  note  that  corresponds  to  the  divisions  of  the  story.  The  fact  of  Meyer's 
familiarity  with  these  places,  gained  by  making  a  journey  through  the  region, 
is  to  be  noted.  It  is  the  thoroughly  modern  attitude  regarding  an  author's 
preparation  for  work.  The  description  of  the  Via  Mala  Schlucht  is 
particularly  worthy  of  notice: 

Ueber  den  rasenden  Fluten  drehten  und  kriimmten  sich  ungeheure  Gestalten, 
die  der  flammende  Himmel  auseinanderrisz,  und  die  sich  in  der  Finsternis  wieder 
umannten.  Da  war  nichts  mehr  von  den  lichten  Gesetzen  der  Erde.  Das  war 
eine  Welt  der  Willkiir,  des  Trotzes,  der  Auflehnung.  Gestreckte  Arme  schleuder- 
ten  Felsstucke  gen  Himmel.  Hier  wuchs  ein  drohendes  Haupt  aus  der  Wand, 
dort  hing  ein  gewaltiger  Leib  iiber  den  Abgrund.  Mitten  im  weiszen  Gischt 
lag  ein  Riese,  liesz  sich  den  ganzen  Sturz  und  Stosz  auf  die  Brust  prallen  und 
briillte  vor  Wonne.^ 

I  Der  Heilige,  pp.  193,  195.  3  Die  Richterin,  pp.  368,  369. 

'  Das  Amulet,  p.  62. 


SETTINGS  77 

The  southern  part  of  the  country,  where  the  sun  shines  brighter  and 
warmer  and  romantic  influence  is  clearly  traceable,  is  well  differentiated : 

So  ging  es  stundenlang  abwarts  langs  des  schaumenden,  uber  Felsblocke 
tobenden  Malero,  wahrend  die  Sonne  immer  gliihender  in  die  Talenge  binunter- 
brannte.  Jetzt  begannen  kraftig  aus  dem  Wiesengrunde  emporgewundene 
Kastanienbaume  den  Pfad  zu  beschatten  und  die  ersten  Weinlauben  griiszten 
mit  ihreu  schwebenden  Ranken.  Auf  den  Hiigeln  schimmerten  prunkbeladene 
Kirchen  und  der  Weg  wurde  immer  haufiger  zur  gepfiasterten  Dorfgasse.  End- 
lich  durchschritten  sie  die  letzte  Schlucht  und  vor  ihnen  lag  im  goldenen  Abend- 
dufte  das  breite  iippige  Veltlin  mit  seinen  heiszen  Weinbergen  und  sumpfigen 
Reisfeldem.' 

Meyer's  love  for  Italy  appears  in  his  description  of  Venice: 
Ein  durchsichtig  blauer  Winterhimmel  umfing  die  Lagunenstadt  und  schaute 
Sich  mit  gleicher  Kraft  und  Helle  tief  aus  dem  Spiegel  eines  ihrer  vielen  schmalen 
Wasserbander  wieder  entgegen.  Hier  zeigten  die  stillen  Wasser  auch  das  scharfe, 
dunkle  Ebenbild  einer  schlankgewolbten  Marmorbriicke,  die  das  engste  und 
bewohnteste  Quartier  Venedlgs  mit  dem  Campo  dei  Frari  verbindet.' 

Connected  with  the  motive. — Usually  Meyer  discloses  an  organic  con- 
nection between  the  setting:  the  landscape  (milieu),  and  the  motive  of 
the  novels.  In  Die  Richterin  the  fierceness  and  wildness  of  the  mountains 
and  the  influence  of  natural  forms  showing  force  and  power  on  the  his- 
tory of  the  people  are  visible.  In  speaking  of  this  book,  Meyer  wrote 
to  Rodenberg: 

Ich  musz  zeitweise  die  Natur  wirken  lassen.  Auch  schreibe  ich  sie  (the 
Novelle)  soviel  ich  vermag,  ohne  Adjektive  und  urspriinglicher  als  den  tiber- 
ladenen  Renaissanz-Monch.^ 

Observe  the  simple  directness  of  Alcuin's  description  of  Rhetia,  which 
resembles  a  classic  myth: 

Wer  seinen  Weg  durch  das  ratische  Gebirg  nimmt,  hat  ohne  den  harten  aber 
in  Stiicke  zerrissenen  Damm  einer  Romerstrasze  zu  zahlen,  die  Wahl  zwischen 
mehreren  Steigen,  die  sich  alle  jenseits  des  Schnees  am  jungen  Rhein  zusammen- 
finden.  Diese  Wege  und  Stapfen  fiihren  im  Geisterlichte  der  Fime  durch  ein 
beirrendes  Netz  verstrickter  Taler,  das  die  Fabel  mit  ihren  zweifelhaften  und 
luftigen  Schrecken  bevolkert.  Hier  ringelt  sich  die  Schlangenkonigin,  wie  ver- 
lockt  von  einer  Schale  Milch,  einem  blanken  Wasser  zu,  gegeniiber,  aus  einem 

finstem  Borne,  taucht  die  Fei  und  wehklagt Sie  ahnt  das  ewige  Gut  und 

kann  nicht  selig  werden.  Dahinter,  zwischen  Schnee  und  Eis,  in  einem  griinen 
Winkel,  weidet  eine  glockenlose  Heerde  und  ein  kolossaler  Hirte,  halb  Firn  halb 
Wolke,  neigt  sich  iiber  sie.     Tiefer  unten,  bei  den  ersten  Stapfen,  verliert  die 

I  Jiirg  Jenatsch,  pp.  36,  37.  3  Langmesser,  op.  cit.,  p.  135. 

'  Ibid.,  p.  99. 


78        TECHNIQUE  IN  KONRAD  FERDINAND  MEYER'S  NOVELLEN 

harmlose  Fabel  ihre  Kraft  und  menschiiche  Schuld  findet  ihre  Hohlen  und  Schlupf- 
winkel.  Hier  raucht  und  schwehlt  eine  gebrochene  Burg,  dort  starrt,  von  Raben 
umflattert,  ein  Morder  in  den  zerschmetterten  Abgrund.' 

The  mood  of  the  character  seems  more  often  to  be  in  harmony  with 
nature  than  contrasting  with  her  aspect,  producing  a  lyrical  eflfect.  Palma 
Novella  "horte  in  dem  Tumulte  der  Tiefe  nur  wieder  den  Jubel  und 
die  Ungeduld  des  eigenen  Herzens."^  And  Wulfrin  "ergrifif  die  Lust  der 
Emporung,  er  glitt  auf  eine  wilde  Platte,  liesz  die  Fiisze  iiberhangen  in  die 
Tiefe,  die  nach  ihm  rief  und  spritzte,  und  sang  und  jauchzte  mit  dem 
Abgrund."3 

To  create  atmosphere. — Place-settings  are  found  at  the  beginning  of 
chapters  in  Jiirg  Jenatsch  to  create  atmosphere,  preparing  the  reader  for 
the  introduction  of  characters  and  a  new  turn  in  the  action.  Many  de- 
scriptions, however,  merely  emphasize  a  certain  efifect  running  through  the 
narrative.  Compare  the  following  from  Der  Heilige.  The  opening  scene 
presents  a  snow  storm  in  the  early  morning.  A  solitary  rider  with  his  dog 
is  making  his  way  into  the  city  of  Zurich.  The  melancholy  aspect  of  the 
dog,  the  dull  thud  of  the  horse's  hoofs  as  well  as  the  fact  that  the  rider 
is  closely  protected  from'the  storm  serve  to  create  a  sense  of  quiet  cold  and 
cheerlessness.  Compare  the  beginning  of  the  last  chapter.  The  picture  of 
the  two  old  men  sitting  in  the  dark  room,  seeing  only  the  feeble  flickering 
of  the  dying  fire  and  hearing  only  the  snoring  of  the  sleeping  dog  and  the 
nibbling  of  a  hidden  mouse,  serves  to  prolong  the  impression  of  awe  and 
uncanniness  produced  by  Hans'  account  of  Becket's  death.  In  a  similar 
manner  the  feeling  of  hopelessness  is  emphasized  in  the  descriptive 
sentence  at  the  beginning  of  chapter  twelve: 

Als  wir  die  graue  Heide,  den  Ort  des  verweigerten  Kusses,  verlassen  hatten 
und  schweigsam  in  uns  gekehrt  nach  der  festen  normannischen  Stadt  Rouen 
trabten,  trieb  uns  nach  einem  warmen,  verlangerten  Spatherbst  eine  rauhe 
Winterluft  die  ersten  Flocken  entgegen. 

Pathos  and  unity. — The  repeated  reference  to  the  grove  (Boskett)  in 
Angela  Borgia,  where  the  Cardinal  committed  his  crime  against  his  brother, 
has  an  effect  of  pathos.  Also,  like  the  description  of  Alpine  scenery,  it  aids 
the  effect  of  unity. 

Circumstantial  settings. — The  circumstantial  settings  are  more  signifi- 
cant than  those  of  time  and  place.  This  may  be  seen  in  the  sultry,  lurid 
evening  when  Cardinal  d'Este's  jealousy  bursts  forth  into  expression  as  the 
storm  breaks  in  its  fury: 

I  Die  Richterin,  p.  293.  3  Ibid.,  p.  369. 

'  Ibid.,  p.  338. 


SETTINGS  79 

Die  Hitze  des  Julitages  hatte  sich  gegen  Abend  unter  dem  dichten  Laubdache 
verfangen.  Es  war  unertraglich  dumpf,  und  wo  der  Horizont  zwischen  den 
Stammen  sichtbar  wurde,  regten  unaufhorlich  die  lautlosen  Blitze  ihre  Feuer- 
schwingen. 

The  conversation  led   by  Lucretia   takes  a   strange   personal  turn;  her 
companions  account  for  her  direct  reference  to  her  past  life: 

"Es  ist  schwiil  und  sie  fiihlt  das  Gewitter" — dachten  sie. 

All  are  oppressed  by  the  heaviness  of  the  atmosphere: 

In  dem  enstandenen  Schweigen  wurde  die  bange  Schwiile  noch  fiihlbarer. 
Man  horte  in  der  Feme  unheimlichejUnkenrufe'und  das  Schreien  eines  Kauzleins, 
nach  welchem  der  Kardinal,  der  an  der  Unterhaltung  keinen  Anteil  genommen, 
aufmerksam  und  geargert  hinhorchte. 

Then  the  catastrophe  comes : 

Man  sasz,  in  der  Schwiile  schwer  atmend,  zusammen  und  konnte  bei  der 
sinkenden  Nacht  kaum  mehr  die  ZUge  des  Nachbars  unterscheiden.  Eine  blei- 
eme  Miidigkeit  und  zugleich  die  beklemmende  Angst  einer  Erwartung  lahmte  die 
Glieder,  wenn  auch  nur  das  Warten  auf  die  Flammen  und  Donner  eines  Gewit- 
tersturmes,  dessen  Fittiche  zur  Stunde  noch  gebunden  waren. 

Da  plotzlich  zitterte  durch  die  Luft  ein  Geschrei.  Solche  Schreckens-  und 
Schmerzenstone,  dasz  alle  Herzen  bebten  und  alle  Pulse  stockten ! 

And  finally  the  natural  forces  find  a  vent  for  their  full  violence: 

Jetzt  rotete  ein  Blitz  den  gefesselten  Amor.  Windstosze  sausten  durch  den 
Wald  und  beugten  die  Wipfel  der  Baume.  Bald  war  der  Himmel  lauter  Lohe 
und  die  Luft  voller  Donnergestosze.  Dann  stiirzten  die  finstem  Wolken  auf  die 
Erde,  und  schwere  Regen  wuschen  und  iiberschwemmten  den  mit  Blut  und  Siinde 
befleckten  Garten.' 

In  the  naive  joy  of  existence,  Palma  interprets  the  cloud  forms  above 
her  to  correspond  with  the  feelings  in  her  own  heart : 

"Jetzt  prangt  und  jubelt  der  Schneeberg,"  sagte  Palma,  "aber  nachts,  wenn 
es  mondhell  ist,  zieht  er  blaulich  Gewand  an  und  redet  heimlich  und  sehnlich. 
Da  ich  mich  jiingst  hier  verspatete,  machte  sich  der  siisze  Schein  mit  mir  zu  schaf- 
fen,  lockte  mir  Tranen  und  zog  mir  das  Herz  aus  dem  Leibe.  Aber  siehe!" 
wiederholte  sie. 

Eine  Wolke  schwebte  iiber  den  weiszen  Gipfeln,  ohne  sie  zu  beriihren,  ein 
himmlisches  Fest  mit  langsam  sich  wandelnden  Gestalten.  Hier  hob  sich  ein 
Arm  mit  einem  Becher,  dort  neigten  Freunde  oder  Liebende  sich  einander  zu 
und  leise  klang  eine  luftige  Harfe.  Palma  legte  den  Finger  an  den  Mund.  "Still," 
flUsterte  sie,   "das  sind  Selige!"     Schweigend  betrachtete  das  Paar  die  hohe 

I  Angela  Borgia,  pp.  85,  89,  93,  96. 


8o         TECHNIQUE   IN   KONRAD   FERDINAND  MEYER'S   NOVELLEN 

Fahrt,  aber  die  von  irdischen  Blicken  belauschte  himmlische  Freude  loste  sich 
auf  und  zerflosz.  "Bleibet!  oder  gehet  nur!"  rief  Palma  mit  jubelnder  Geberde, 
"  wir  sind  Selige  wie  ihr!  Nicht  wahr,  Bruder?"  und  sie  blickte  mit  trunkenen 
Augen  bis  in  den  Grund  der  seinigen.' 

Hans  is  afifected  by  the  cheerlessness  of  the  external  world : 

Wahrend  main  schrei tender  Gaul  die  gelben  Blatter  von  den  Zweigen  strich 
hatte  ich  triibselige  Gedanken  iiber  die  Verganglichkeit  des  irdischen  Wesens, 
wie  sie  mir  gewohnlich  sind,  wann  ich  die  bleichen  Lichter  der  Zeitlosen  auf  den 
Wiesen  erbHcke.' 

Contrast  the  night  of  Grace's  death  with  the  beautiful  autumn  day 
when  Hans  takes  the  same  ride  with  nothing  more  to  conceal: 

Es  war  eine  bose  Nacht,  die  schlimmste  meines  Lebens.  Am  Himmel  wander- 
ten  schwarze  lange  Wolken  ....  von  den  kahlen  Aesten,  welche,  als  trauerten 
sie,  schwarz  und  tiefer  als  sonst,  herabhingen.3 

and 

Der  klarste  Himmel  schimmerte  iiber  den  gelben  Baumkronen  und  zwischen 
den  hier  und  dort  schon  entlaubten  Zweigen. * 

The  beauty  of  the  bit  on  p.  99  is  to  be  noted,  emphasizing  the  solemnity 
of  the  moment,  yet  helping  to  keep  the  .idea  of  lightness  and  gentleness 
which  is  to  be  associated  with  Gnade : 

Lautlose  Stille  herrschte.  Nur  ein  Laubgefluster  regte  sich  im  oflFenen  Fenster 
und  leichte  Blatterschatten  tanzten  iiber  das  Purpurkissen  und  die  beiden  Ange- 
sichter. 

Contrast  in  setting. — On  the  other  hand,  contrast  in  the  setting  is 
often  found.  Venice  presents  "das  gewohnte  friedhche  Nachtbild"  of  a 
"ruhige  Mondnacht"  on  the  evening  when  Jenatsch  is  arrested.  The  sun 
smiles  upon  the  wicked  city  of  Paris:  "Wir  machten  uns  auf  den  Weg, 
durch  die  blutgetrankten  Gassen  langsam  neben  einander  wandelnd 
unter  einem  wolkenlosen,  dunkelblauen  Augusthimmel."s 

Brevity  of  nature  descriptions. — With  the  exception  of  the  settings 
found  in  Jilrg  Jenatsch  and  Die  Richterin,  the  brevity  of  Meyer's  de- 
scriptions of  nature  is  conspicuous.  This  is  due  to  his  penetration  into 
nature  and  his  desire  to  interpret  her  moods  together  with  his  inabihty 
to  respond  to  her  influence  by  a  simple  feeling  of  exaltation  and 
exhilaration. 

'  Die  Richterin,  p.  350.  *Ibid.,  p.  96. 

'  Der  Heilige,  p.  74.  s  Das  Amulet,  p.  no. 

3  Ibid.,  p.  91. 


SETTINGS  8 1 

General  purpose. — The  settings  in  Meyer's  Novellen,  then,  give  con- 
creteness  and  vividness  to  the  events.  By  creating  atmosphere,  they  become 
an  aid  to  the  illusion.  They  are  organic  and  deepen  the  unity.  While 
they  interpret  and  evoke  emotions,  they  do  not  retard  the  action.  Meyer's 
chief  interest  was  in  man,  and  he  used  nature  dramatically,  as  mingled  with 
the  thought  and  action  of  the  story. 


VI.     STYLE 

Sie  [the  form]  erhalt  und  tragt.  Sie  steht  in  inniger  Wechselwirkung  mit 
dem  Inhalt.  Sie  hat  ihr  Recht  darin  und  ihre  Notwendigkeit.  Und  sie  ist  dem 
Dichter  Bediirfnis,  sie  steckt  ihm  im  Blute.  Er  ist  Aristokrat.  Und  sie  ist 
Zucht  und  Schulung.  Sie  ist  aus  vorwiegend  franzosischer  Schulung  hervor- 
gegangen.  Nicht  das  Kleinste  ist  in  ihr  versaumt,  nirgends  ist  auch  nur  die 
leiseste  Vernachlassigung  geduldet.' 

The  point  to  be  emphasized  in  this  remark  about  Meyer's  work  is  not 
the  fact  that  the  form  is  perfect,  but  that  there  is  an  intimate  relation  between 
the  form  and  the  content.  As  the  content  of  his  stories  is  of  psychological 
interest,  he  adapts  his  language  to  the  themes  to  be  portrayed,  even  as  he 
adapts  the  action  and  the  settings  to  the  idea  of  the  characters.  Saitschik 
has  said  that  Meyer's  style  is  that  of  a  man  who  scents  the  problems  of 
life.^  His  work  has  that  force  which  must  spring  from  sympathy  such  as  he 
felt  with  his  characters. 

Vocabulary:  Objective  phrases. — In  commenting  upon  Meyer's  refer- 
ences to  the  eyes,  his  command  of  expression  and  varied  use  of  epithets 
were  noted.  The  greater  number  of  his  descriptive  phrases  are  objective 
as  shown  by  his  use  of  such  words  as  "eisern,"  "felsenhart,"  "wetter- 
hart,"  to  describe  the  features  of  a  person  with  physical  strength, 
peculiar  force  of  character,  or  years  of  experience.  He  also  applies  the 
word  "eisern"  to  industry. 3  Anger  is  red,  dark,  or  flaming,  the  last  term 
being  likewise  an  epithet  of  enthusiasm.^  "  Bleiem  "  is  employed  to  charac- 
terize weariness  and  sleep. s 

Combination  of  objective  and  subjective  phrases. — A  combination  of 
objective  and  subjective  features  is  often  found,  as  "mit  irren  Sinnen 
und   hammernden   Schlafen,"^  "mit  einem  Ausdrucke  frommer  Einfalt, 

I  Holzamer,  op.  cit.,  p.  12. 

»  "Von  auszen  scheint  sein  Stil  hell  und  durchsichtig,  aber  je  mehr  man  dessen 
innersten  Wesen  sich  nahert,  wird  man  einer  dunklen,  geheimniszvoUen  Mitte  gewahr. 
Die  Welt  ist  Meyer  offen  bis  zur  Frage  nach  der  tiefsten  Bedeutung  ihrer  Erscheinungen; 
sobald  er  diese  Frage  aufwirft,  verschlieszt  sie  sich  wiederum  seinem  Auge  und  er 
fangt  an,  Ratsel  zu  wittern." — Op.  cit.,  p.  269. 

3  Jiirg  Jenatsch,  pp.  241,  293;  Die  Leiden  eines  Knaben,  p.  192. 

*  Das  Amulet,  p.  30;  Jiirg  Jenatsch,  pp.  127,  303;  Der  Heilige,  pp.  75,  201,  224, 
231;  Die  Versuchung  des  Pescara,  pp.  69,  139,  157. 

s  Angela  Borgia,  pp.  93,  131. 

6  Custav  Adolfs  Page,  p.  345. 

82 


STYLE  83 

aber  den  scharfsten  Blicken  ihrer  halbgeschlossenen  Augen,"^  "durch 
seinen  charakterlosen  Parteiwechsel  und  seine  triigerische  Beredsamkeit,"* 
"das  Auftauchen  auszerordentlicher  Menschen  und  das  Aufflackern  groszer 
Leidenschaften."3  This  is  but  a  minor  manifestation  of  Meyer's  fondness 
for  contrast  and  antithetic,  balanced  style. 

Ironic  epithets. — At  times  the  epithet  is  ironic.  Illustrations  of  this 
are:  "in  diinkelhafter  Selbstemiedrigung,"^  das  "taube  Ohr  seiner 
Heiligkeit  besturmend/'s  "sein  frommhochzeitlich  Kleid,"*^  Jenatsch's  con- 
temptuous thought  of  Rohan's  piety  which  is  a  hindrance  to  his  aiding 
the  Swiss. 

Felicitous  phrases. — The  life  upon  which  Angela  Borgia  is  about  to 
enter  is  described  in  feUcitous  phrases: 

Und  dieses  Theater  entfaltete  sich  heute  in  ungewohnlicher  Pracht:  strahlen- 
der  Himmel,  glanzende  Trachten,  offentlicher  Jubel,  der  festliche  Verkehr  der 
Begunstigten  und  Glucklichen  dieser  Erde,  berauschende  Musik,  stolzirende 
Rosse,  reizende  Frauen,  verliebte  Junglinge,  schmeichelnde  Huldigungen,  klop- 
fende  Pulse,  die  Welt,  wie  sie  sich  schmiickt  und  lachelnd  im  Spiegel  besieht, 
alle  diese  Lust  and  Fulle  lag  vor  ihr  ausgebreitet  und  wurde  ihr  vergallt  durch  den 
spottenden  Teufel  an  ihrer  Seite.' 

Felicitous  also  are  the  descriptions  of  Ezzelin's  incipient  tyranny  in  the 
words,  "mit  einem  Zug  um  den  Mund  so  zu  sagen,"^  and  of  Becket  as 
"die  Wonne  und  Weisheit  des  Konigs."' 

Dynamic  phrases. — The  persons  are  sometimes  characterized  in  terms 
that  show  peculiar  insight,  as  when  Hans  calls  Becket  "der  sonst  nach  alien 
Seiten  UmbUckende  und  das  Keimen  der  Dinge  Belauschende."^°  Bembo's 
mood  is  well  revealed:  "wie  der  schlangengewandte  Venetianer  seine 
zerrissene  Seele  zu  einem  schmerzlichen  rhetorischen  Meisterstiicke 
stimmt.""  The  rhythm  and  recurrence  of  sounds  is  to  be  observed  here. 
In  general,  however,  the  best  dynamic  phrases  are  epigrammatic,  of  which 
two  examples  will  suffice  here,  as  they  will  later  be  given  separate  mention. 
Hans  gives  the  result  of  his  experience  in  terms  most  natural  to  him:  "Es 
kommt,  o  Herr,  beim  Urteilen  wie  beim  Schieszen  lediglich  auf  den 
Standpunkt  an."^^     Can  Grande's  words  epitomize  Dante's  story  in  the 

I  Jiirg  Jenatsch,  p.  243.  '  Angela  Borgia,  p.  8. 

'  Ibid.,  p.  297.  8  Die  Hochzeit  des  Monchs,  p.  10. 

3  Ihid.,  p.  132.  0  Der  Heilige,  p.  35. 

4  Die  Leiden  eines  Knaben,  p.  175.  '°  Ibid.,  p.  81. 

5  Der  Heilige,  p.  103.  "  Angela  Borgia,  p.  27. 

6  Jiirg  Jenatsch,  p.  244.'  '»  Der  Heilige,  p.  30. 


84         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

familiar  figure:  "Wer  mit  freiem  Anlaufe  springt,  springt  gut;  wer 
gestoszen  wird,  springt  schlecht."' 

Color  words  and  onomatopoeia. — Prominent  features  of  the  author's 
style  are  the  use  of  color  words  and  those  descriptive  of  sound.  His  eye 
dwells  lovingly  upon  the  varied  tints  of  the  landscape  as  seen  in  the 
mountain  scenery  of  Jiirg  Jenatsch.  The  book  has  many  bits  like  "eine 
griine  Seetiefe,"  "schimmernde  Felswande,"  "von  den  silbemen  Schlan- 
genwindungen  stiirzender  Gletscherbache,"  "ein  glanzendes  Schneefeld, 
aus  dem  rotliche  Klippen  und  Pyramiden  hervorstachen."  Abundance 
of  rich  color  meets  the  eye  in  Fausch's  Venetian  cafe : 

Das  schmale  Gemach  lag  jetzt  im  Halbdunkel,  nur  durch  ein  hochgelegenes 
Rundfenster  iiber  der  Thiir  drang  ein  rotlicher  von  goldenen  Staubchen  durch- 
spielter  Sonnenstrahl  in  seine  Tiefe  und  blitzte  in  den  aufgereihten,  fein  geschlif- 
fenen  Kelchen  und  funkelte  in  dem  Purpurweine,  welchen  Meister  Lorenz  dem  in 
sich  Vertieften  unaufgefordert  vorgesetzt  hatte.* 

Again,  there  is  the  picture  "voll  Farbenglanz,  Leben  und  Sonne,"  of 
Rohan's  party  and  their  attendants. 

Particularly  appropriate  is  the  lavish  use  of  color  in  Der  Heilige,  which 
is  limited  to  the  mention  of  Becket  and  his  child,  both  belonging  to  a  race 
accustomed  to  rich  hues  and  luxurious  surroundings.  We  see  Becket  with 
pale  but  radiant  features,  clad  in  a  garment  of  violet  silk,  riding  out  to  see 
Grace  on  his  silvery  white  steed. 3  Grace's  villa  is  a  fitting  abode  for  a 
"Waldelfe": 

Auf  einer  goldgriinen  Waldwiese  stand  ein  Schloszchen,  wie  ich  seinesgleichen 
wohl  im  Konigreiche  Granada  gesehen  hatte.  Es  war  von  hohen  glatten  Mauem 
aus  gelbem  Steine  umgeben,  iiber  welches  eine  kleine  blauschimmemde  Kuppel 
emporstieg  und  schlanke  dunkle  Baumspitzen  ragten,  die  ich  Cypressen  genannt 
hatte,  waren  wir  unter  einem  siidlicherem  Himmel  gewesen. 

Das  zierliche,  feste  Bauwerk  war  frisch  und  neu  und  glanzte  im  letzten  Lichte 
wie  ein  Juwel.-* 

Grace's  body  lying  in  the  casket  is  royally  adorned: 

Ihr  Haupt  ruhte  auf  einem  Purpurkissen  und  trug  ein  Kronchen  von  blitzen- 
dem  Edelgestein.  Der  zarte  Korper  verschwand  in  den  von  Goldstickerei  und 
Perlen  starrenden  Falten  ihres  iiber  die  Wande  des  Schreins  ausgebreiteten  Gewan- 
des.  Die  kleinen  durchsichtigen  Hande  lagen  auf  der  Brust  gekreuzt  und  hielten 
keusch  den  schwarzen  Schleier  ihres  Haares  zusammen,  der  vom  Scheitel  flieszend 
die  zarten  Wangen  einrahmte  und,  die  zwei  Wunden  des  Halses  bedeckend,  sich 
unter  dem  blassen  Marmorkreuz  ihrer  Arme  wieder  vereinigte.s 

I  Die  Hochzeit  des  Monchs,  p.  6.  *  Ibid.,  p.  65. 

*  Jiirg  Jenatsch,  pp.  108,  114.  s  Ibid.,  p.  98. 

3  Der  Heilige,  p.  72. 


STYLE  85 

Words  directly  imitative  of  the  sound  described  are  of  very  frequent 
occurrence,  either  as  verbs,  adjectives,  or  nouns.  A  few  illustrations  from 
Die  Hochzeit  des  Monchs  are:  "ein  Murren,  ein  Schelten,  ein  Verwiinschen, 
ein  Drohen,"  '"gurr,  gurr,'  girrte  wimmernd,"  "blies,  kratzte,  paukte, 
pfiflf,  quiekte,  neckerte  und  grunzte,"  "die  schnarrende  Stimme,"  "die 
schlurfenden  Pantoflfeln."  Verbs  of  this  kind  are  often  used  elliptically: 
" 'Nicht  Diana  bist  du,'  naselte  er;"  " 'Das  Weib  gefallt  mir  immer  weniger,' 
grollte  Wulfrin."  The  use  of  words  analogically  imitative,  the  repetition 
of  certain  similar  sounds,  aspirates,  pectorals,  which  produce  an  effect  in 
keeping  with  the  thought  expressed,  have  already  been  suggested  elsewhere.^ 
The  flowing  quality  of  the  sounds  combined  in  the  characterization  of 
Ariosto's  verses  illustrates  Meyer's  sense  of  harmony  and  rhythm:  "Der 
nichts  als  Farbe,  Lust  und  Leichtsinn  war  und  in  dem  das  trunkene  Leben 
iiber  flatterndem  Haar  die  lauten  Becken  schlug."^  The  reality  of  the 
pain  Gertrude  feels  from  the  crown  of  thorns  is  evident  in  the  difl&cult 
combination  of  sounds:  "aus  harten,  wirklichen  Domen  geflochten  und 
starrte  von  scharfen  Spitzen."^  There  is  quickness  of  movement  in  these 
aspirates:  "sie  fuhr  in  die  Tasche,  zog  einen  Dolch  heraus,  schleuderte 
die  Scheide  ab  und  zerschnitt  sich  in  einen  kunstfertigen  Zug  die  Halsader 
wie  einem  Taubchen."'*  Again,  the  aspirates  may  express  indignation 
and  fear,  as  in  Stemma's  speech:  "'Stille,  SchwachUng!'  ziimte  die 
Richterin.  *Das  hast  du  dir  in  deinem  Schlupfwinkel  zusammengetraumt. 
Solche  Schmach  kennt  die  Sonne  nicht!     Stemma  ist  makellos.'  "5 

Alliteration  and  hendiadys. — The  most  frequent  occurrence  of  allitera- 
tion is  in  the  form  of  hendiadys,  or  pairs  of  nouns  or  other  parts  of  speech 
connected  by  "and,"  although  it  is  also  found  in  phrases  consisting  of  a 
noun  and  its  limiting  adjective,  as  "mitgeheimen  Grauen/' "einbleicher 
Blitz,"  "mit  schnellen  Schritten."  Examples  of  the  former  are  sprinkled  in 
great  number  over  the  pages  of  the  Novellen.  The  following  are  examples 
from  Der  Heilige:  "Im  Wetten  und  Wagen  des  Lebens  verbisz  und 
vergasz  er,"  "ein  vergoldetes  Gitterhaus  voll  Geflatter  und  Gezwitscher," 
"gedacht  undgewacht,"  "erstaunte  und  erschrack,"  "singen  und  sagen," 
"Herkommen  und  Heimat."  There  are  very  few  instances  of  these  pairs 
of  words  with  assonance  or  end-rhyme  merely;  the  number  without  allitera- 
tion is  probably  as  great  as  those  having  it.  Their  use,  then,  seems  to  be 
due  as  much  to  Meyer's  tendency  to  express  himself  in  balanced  style  as  to 
the  general  popular  inclination  to  use  such  word  groups.     To  show  how 

I  See  above,  p.  48.  4  Gusiav  Adolfs  Page,  p.  314. 

'  Angela  Borgia,  p.  102.  s  Die  Richterin,  p.  326. 

3  Plautus  im  Nonnenhloster,  p.  261. 


86         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S  NOVELLEN 

they  are  piled  up,  the  following  are  taken  from  one  page  of  Der  Heilige: 
"Bild  und  Siegel,"  "unser  Tun  und  Lassen,"  "uberhoben  und  aufgelehnt," 
"beschrieben  und  verherrUcht,"  "offen  und  heimlich,"  "das  Neue  und 
Fremdlandische."  The  employment  of  hendiadys  is  more  prominent,  per- 
haps, in  Jurg  Jenatsch  and  Der  Heilige  and  hardly  occurs  at  all  in  Das 
Amulet,  where  Meyer  had  not  as  yet  found  his  own  style.  The  compound 
expressions  seem  to  have  greater  power  of  characterization  and  add  force 
to  the  language. 

In  spite  of  the  romantic  elements  in  the  content,  the  language  is  not  of 
a  sentimental  or  Ossianic  character.  Words  like  "wurmstichig,"  "alters- 
grau"are  found,  but  very  rarely.  Stickelberger  remarks  that  blunt  and 
homely  words  predominate  in  the  older  Novellen  and  that  the  language 
in  the  Italian  Novellen  is  finer  and  smoother.^  Sahr  notes  a  few  pecuUari- 
ties  of  language  in  jiirg  Jenatsch,  gallicisms  and  rare  or  provincial  expres- 
sions.^ Nevertheless,  the  language  is,  on  the  whole,  modern  and  general 
in  character;  in  a  story  like  Der  Heilige  antiquated  forms  are  accepted 
unquestioningly  as  in  keeping  with  the  frame-setting. 

To  sum  up,  Meyer  uses  rhymthical,  picturesque,  concrete,  strong  lan- 
guage, expressive  of  movement,  color,  and  sound.  It  is  restrained  and  in 
full  accord  with  the  thought,  making  a  fabric  of  firm  construction.  Nothing 
could  be  taken  away.     Each  word  is  essential  and  significant. 

Sentences:  Long  and  balanced. — The  general  type  of  Meyer's  sentences 
is  short,  balanced,  and  antithetic.  His  habit  of  suggesting  double  reasons 
for  the  characters'  actions^  is  a  factor  in  making  this  antithesis  typical  of 
his  sentence  form,  as  well  as  the  word  pairs  just  mentioned.  The  effect 
of  the  latter  is  shown  in  such  a  sentence  as: 

In  Verzweiflung  richtete  sie  sich  auf,  sah  Jiirg  schwanken,  von  gedungenen 
Mordem  umstellt,  von  meuchlerischen  Waffen  umzuckt  und  verwundet,  rings  und 
rettungslos  umstellt. ^ 

This  gives  an  idea  of  Lucretia's  emotion  and  the  repetition  of  the  word 
"umstellt"  is  impressive.  Two  examples  from  Die  Leiden  eines  Knaben 
will  further  illustrate  this: 

Hart  setzte  ich  ihm  zu,  seinen  Knaben  ohne  Zogerung  den  Jesuiten  wegzuneh- 
men,  da  der  verbissene  Hasz  und  der  verschluckte  GroU,  den  getauschten  Habgier 
und  entlarvte  Schurkerei  unfehlbar  gegen  ihren  Entdecker  empfinden,  sich 
notwendigerweise  iiber  den  Orden  verbreiten,  ein  Opfer  suchen  und  as  vielleicht, 
ja  wahrscheinlich  in  seinem  unschuldigen  Kinde  finden  wiirden. 

Wie  viel  oder  wenig  er  gelernt  haben  mochte,  schon  die  Illusion  eines 

I  Stickelberger,  op.  cit.,  p.  48.  3  See  above,  p.  42. 

'  Sahr,  op.  cit.,  p.  47,  Anhang.  ■♦  Jiirg  Jenatsch,  p.  351. 


STYLE  87 

Erfolges,  die  Teilnahme  an  einer  genialen  Tatigkeit,  einem  muhelosen  und 
glucklichen  Entstehen,  einer  Kijhnheit  und  Wilkiir  der  schopferischen  Hand, 
von  welcher  wohl  der  Phantasielose  sich  friiher  keinen  Begriff  gemacht  hatte 
und  die  er  als  ein  Wunder  bestaunte,  liesz  den  Knaben  nach  so  vielen  Verlusten 
des  Selbstgefiihls  eine  grosze  Gliickseligkeit  empfinden.' 

Such  sentences  are  due  to  the  author's  desire  to  place  the  whole  of  a 
situation  before  the  reader  at  once,  to  pack  the  statement  full  of  meaning, 
to  show  ever  the  real  essence  of  his  thought. 

Short  sentences. — But  this  desire  for  conciseness  and  emphasis  manifests 
itself  more  usually  in  short  sentences.  The  use  of  the  short  sentence  to 
produce  suspense  has  already  been  noted.  A  single  short  sentence  often 
constitutes  a  whole  paragraph,  as  in  the  following: 

So  klagte  Lucretia  und  rang  die  Hande  in  innerm  Zwiespalte  und  trostloser 
Verzweiflung.* 

The  restraint  and  the  isolation  make  Lucretia's  grief  all  the  more  real. 
Similar  is  the  idea  given  us  of  her  resoluteness  in  the  paragraphs: 

Lucretia  gab  den  Zweck  ihrer  Reise  nach  Mailand  nihig  und  stolz  zu;^ 

So  beschlosz  sie  ein  Ende  zu  machen  und  der  Welt  abzusagen.* 
Such  a  paragraph  may  be  a  summary  of  a  detailed  situation,  and  serve  to 
make  a  pause  in  the  story  and  furnish  variety.     Rohan's  painful  situation  is 
summed  up  in  the  words: 

Aber  schon  war  er  ein  Gefangener.^ 
Following  upon  Fagon's  excitement  over  his  theme,  comes  the  statement: 

Fagon  machte  eine  Pause  und  schopfte  Atem.^ 
At  the  bottom  of  the  same  page  we  find  the  short  sentence:    "Fagon 
zitterte,"  indicative  of  his  intense  eagerness  to  convince  the  king  of  the 
falseness  of  the  Jesuits. 

These  short  paragraphs  often  have  a  touch  of  irony.     Compare: 

Victoria  war  geriihrt  und  auch  der  Kanzler  vergosz  Thranen;' 

Was  behauptete  Wertmiiller  nicht  alles  !* 

Der  unbekehrbare  Ziircher  liesz  das  nicht  gelten.' 
On   the  other  hand,  they  may   emphasize    the    pathos  of  a    situation. 
Instances  are  found  in  Angela  Borgia: 

Das  dunkle  Boskett  war  verlassen;'° 

Und  er  beurlaubte  das  Opfer." 

'  Die  Leiden  eines  Knaben,  pp.  198,  199,  209,  210. 

'  Jiirg  Jenatsch,  p.  351.  '  Die  Versuchung  des  Pescara,  p.  75. 

3  Ibid.,  p.  316.  8  Jiirg  Jenatsch,  p.  252. 

♦  Ibid.,  p.  318.  9  Ibid.,  p.  253. 

5  Ibid.,  p.  265.  1°  Angela  Borgia,  p.  96. 

^  Die  Leiden  eines  Knaben,  p.  201.  i'  Ibid.,  p.  197. 


88         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER's   NOVELLEN 

Interrogation  and  exclamation. — With  Meyer's  objectivity  of  treatment, 
it  is  slightly  surprising  to  find  so  frequent  a  use  of  the  rhetorical  question. 
The  alternative  motives  for  the  acts  of  the  characters  may  be  presented 
in  this  form.^  The  interrogative  form  serves  the  same  purpose  as  the 
declarative  statement — to  call  both  explanations  to  the  attention  of  the 
reader.  Otherwise  it  is  really  used  as  a  means  of  objectivating  the 
emotions  of  a  character,  as,  for  example,  Astorre's  feelings  when  he  recalls 
Antiope's  childish  winsomeness,'  or  Giulio's  confused  state  of  mind  which 
causes  him  to  join  in  Ferrante's  conspiracy.  ^  Exclamatory  sentences  are 
used  similarly,  as  when  Jenatsch  decides  it  is  necessary  to  ally  himself  with 
a  stronger  power  than  that  of  Rohan.4  Ascanio's  fear  lest  Astorre  will  show 
weakness  and  Astorre's  own  reaUzation  of  his  danger  are  presented  in 
warm  exclamatory  style,  s  The  emotion  is  repressed  when  the  sentences 
are  at  the  same  time  short,  as  when  Lucretia  tells  Jiirg,  '"Aber  Jiirg, 
sieh  mich  niemals  wieder ! — Hiite  dich  vor  mir,  Geliebter !  Kreuze  nie 
meinen  Weg !  Store  nie  meine  Ruhe !'  "^  The  use  of  exclamation  in  short 
paragraphs  produces  a  somewhat  sensational  effect  in  Angela  Borgia  in 
the  scene  between  Angela  and  Giulio  at  Pratello  and  his  subsequent  bitter 
reflections. 7  It  also  shows  the  rapidity  with  which  the  penalty  of  Giulio's 
rash  deed  overtakes  him.  The  scene  giving  Strozzi's  decision  to  go  to 
Caesar  Borgia  is  also  presented  in  short  paragraphs.* 

Paragraphs. — ^Again  a  short  paragraph  merely  forms  a  transition  from 
one  situation  to  another,  and  in  this  function  often  stands  at  the  beginning 
of  a  chapter.  As  an  example  compare  the  way  the  reader's  attention  is 
directed  to  the  observation  of  the  two  men,  Wertmiiller  and  Jenatsch,  after 
the  scene  in  St.  Mark's:  "Der  Auftrag  des  Herzogs  war  der  unnihigen 
Neugier  des  jungen  Zurchers  in  hohem  Grade  willkommen."^  In  Der 
Schusz  von  der  Kanzel  the  transition  is  made  to  the  narration  of  the 
events  of  Sunday  by  the  sentence:  "Und  der  Mohr  log  nicht."'°  It  is 
like  a  statement  at  the  beginning  of  a  paragraph  of  a  principle  which  is 
to  be  expanded. 

Meyer's  sentences,  then,  and  very  often  his  paragraphs  also  are  con- 
structed to  give  expression  to  emotion,  to  make  the  thought  perfectly 
clear,  to  produce  suspense  and  further  rapid  movement.     Because  of  the 

I  See  above,  p.  42.  3  Angela  Borgia,  p.  iii. 

»  Die  Hochzeit  des  Monchs,  p.  76.  *  Jiirg  Jenatsch,  p.  227. 

s  Die  Hochzeit  des  Monchs,  pp.  no,  in. 

6  Jiirg  Jenatsch,  p.  191.  0  JUrg  Jenatsch,  p.  126. 

7  Angela  Borgia   pp.  119-22.  1°  Der  Schusz  v.  d.  Kanzel,  p.  181. 

8  Ibid.,  pp.  173,  174. 


STYLE  89 

fact  that  he  works  so  definitely  toward  the  central  point  of  his  story,  his 
sentences  become  so  concentrated,  so  suggestive,  that  the  style  at  times 
seems  abrupt.  It  is  a  revelation  of  his  own  reluctance  to  attract  attention 
to  himself  and  his  own  feelings. 

Figures  of  speech:  Similes. — The  beauty  of  Meyer's  work  is  largely 
owing  to  his  abundant  use  of  figures  of  speech  and  to  their  especial  sug- 
gestiveness.  The  comparisons  are  drawn  from  animal  life  and  from  quite 
common  phenomena  and  facts  of  human  experience.  It  is  rare  that  a 
simile  is  found  taken  from  literary  or  artistic  sources  serving  the  purpose 
of  embellishment  merely.  The  figurative  language  is  employed  as 
a  medium  for  characterizing  moods,  for  embodying  abstract  ideas, 
for  giving  vividness  and  distinctness  to  the  thought.  To  be  sure, 
there  are  a  large  number  of  short  and  simple  comparisons,  sightly  conven- 
tional in  tone,  which,  nevertheless,  strengthen  the  realism.  But  the  greater 
number  are  more  extended  similes  which  make  the  artistic  form  more 
beautiful  and,  at  the  same  time,  add  to  the  reader's  impression  that  the 
author  is  striving  to  conceal  his  intimate  personal  feelings. 

The  similes  occurring  in  the  speeches  of  the  persons  are  always  in 
harmony  with  their  characters  as  we  know  them.  Those  used  by  Hans  in 
Der  Heilige  are  all  homely  and  drawn  from  his  occupation  or  the  animals 
and  objects  with  which  he  is  chiefly  busied.  A  simple  and  concrete  descrip- 
tion of  his  mood  is  the  sentence:  "Mich  driickte  der  Kummer  wie  ein  zu 
enger  Brustpanzer."'  Of  Richard  he  says:  "Das  Spiel  seiner  Natur 
war  ehrHch  wie  ein  Stosz  ins  Hifthorn  and  iiberquoll  wie  der  Schaum  am 
Gebisz  eines  jungen  Renners."*  There  is  a  freshness  and  naturalness  about 
this  comparison  that  gives  the  reader  a  distinct  idea  of  Richard.  Hans 
represents  the  king  looking  at  Becket  in  surprise  as  "man  einen  langjahrigen 
Liebling — Rosz  oder  Bracken — beschaut,  der  durch  Schur  oder  Stutzen  des 
Schweifes  seine  Gestalt  verwunderlich  geandert  hat."3  King  Henry  would 
have  expressed  himself  in  the  same  homely  way.  He  says  of  Becket:  "Er 
hat  wie  ein  schmeichelndes  Hiindlein  das  Brot  aus  meiner  Hand  gegessen."^ 
A  simile  which  recalls  the  time-setting  of  the  story  is  Hans'  remark,  "Das 
was  nun  geredet  wurde,  haftet  in  meinem  grauen  Kopfe  wie  die  romische 
Schrift  auf  einem  umgestiirzten  Meilenstein,  dessen  Bruchstiicke  noch  die 
unausloschlich  eingegrabenen  Lettem  tragen."s  Striking  and  touching  at 
the  same  time  is  the  description  of  the  king's  countenance,  as  it  reveals  his 
state  of  mind:  " Statt  des  freudigen  Leuchtens  von  ehemals  gab  es  nur  noch 
einen  matten  weiszen  Schein  von  sich  wie  faules  Holz  in  der  Nacht."*^ 
I  Der  Heilige,  p.  195.  3  Ibid.,  p.  147.  s  Ibid.,  p.  130. 

»  Ibid.,  p.  60.  4  Ibid.,  p.  199.  ^  Ibid.,  p.  224. 


90         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

Jenatsch's  attitude  toward  Wertmliller  is  thus  pictured:  "Der  Bundner 
liesz  dieses  kecke  und  sprunghafte  Geplauder  iiber  sich  ergehen  .... 
wie  die  grosze  Dogge,  die  in  ihrer  Hiitte  liegt,  ungern  aber  nur  mit  leisem 
Knurren  die  Neckerei  eines  unterhaltungslustigen  kleinen  Klaffers  ertragt, 
der  als  uberlastiger  Gast  zu  ihr  hineingekrochen  ist."'  Bourbon,  who  holds 
Morone  in  sh'ght  regard,  thus  refers  to  his  love  of  intrigue:  "Da  ich  unser 
Ultimatum  nach  Mailand  brachte,  sah  ich  es  hinter  seiner  Stirne  wimmein 
wie  in  einem  Ameisenhaufen."^ 

Auguste  Leubelfing's  mood  is  indicated  in  the  words:  "Mit  jenem 
Wahrheitsbediirfnis,  das  sich  nach  lange  getragener  Larve  so  gebieterisch 
meldet,  wie  Hunger  und  Durst  nach  langem  Fasten. "^  Victoria  Colonna's 
joy  in  going  to  her  husband  manifests  itself  in  her  manner  of  speaking: 
"So  redete  Victoria  aufwallend  und  uberqueliend  wie  ein  romischer  Brun- 
nen."4  The  strength  of  Gustavus  Adolphus'  character  appears  in  his  anger 
against  the  Germans,  "Streng  wie  ein  Richter  in  Israel,  in  heiliger  Entriis- 
tung,  in  loderndem  Zorn,  wie  ein  biblischer  Held,  der  ein  himmelschreiendes 
Unrecht  aus  dem  Mittel  heben  musz,  damit  nicht  das  ganze  Volk  verderbe."^ 
Similarly  significant  is  Victoria  Colonna's  reception  of  the  bitter  news  about 
Pescara's  wound:  (She)  "staunte  mit  starren  Augen,  als  sahe  sie  den  herr- 
lichsten  Palast  brennen  und  von  der  lodernden  Flamme  jeden  Saulenknauf 
beleuchtet."^ 

A  case  of  an  apparently  sought  for  resemblance,  although  in  keeping 
with  the  attitude  of  the  speaker,  Poggio,  toward  classical  learning,  is  the 
following:  "  Wann  auf  den  sieben  Hiigeln  zwei  Auguren  sich  begegneten  und, 
nach  einem  antiken  gefliigelten  Worte,  sich  zulachelten,  wird  es  ein  feineres 
Spiel  gewesen  sein,  als  das  unreine  Gelachter,  welches  die  Ziige  meiner 
Aebtissin  verzerrte."^ 

In  keeping  with  the  general  tone  of  Der  Schusz  von  der  Kanzel  is  the 
description  of  the  echo  that  answers  Wertmliller's  laugh:  "dasz  es  war, 
als  hielten  sich  alle  Faune  und  Panisken  der  Au  die  Bauchlein  iiber  einen 
tollen  und  gottvergessenen  Einfall."^  The  General  is  compared  to  an  Egyp- 
tian god;  dryads,  masks,  Acheron  form  other  bases  of  comparison.  The 
contrast  between  the  timid  Leubelfing  and  his  brave  cousin  is  emphasized 
by  the  use  made  of  the  representation  of  Achilles  on  the  stove. ^ 

Metaphors. — The  metaphors  are  taken  from  very  much  more  varied 

I  Jiirg  Jenatsch,  p.  133.  ^  Die  Versuchung  des  Pescara,  p.  182. 

»  Die  Versuchung  des  Pescara,  p.  84.  ^  Plautus  im  Nonnenkloster,  p.  248. 

3  Gustav  Adoljs  Page,  pp.  358,  359.  8  j)gr  Schusz  v.  d.  Kanzel,  p.  164. 

4  Die  Versuchung  des  Pescara,  p.  44.  9  Gustav  Adoljs  Page,  pp.  281,  283. 
s  Gustav  Adoljs  Page,  p.  309. 


STYLE  91 

sources  and  are,  perhaps,  more  pointed  and  suggestive.  The  greater  num- 
ber compare  sensible  objects  with  other  sensible  objects.  There  is  the  same 
naturalness  and  harmony  with  the  content  as  in  the  similes.  Again  an  illus- 
tration is  taken  from  Der  Heilige,  when  Hans  characterizes  Becket's  attitude 
toward  Queen  Eleanor:  "So  bemiihte  sich  die  Weisheit  des  Kanzlers,  Frau 
Ellenor  in  ertraglicher  Gangart  und  masziger  Ziigelung  zu  halten  .... 
damit  sie  sich  nicht  baume "^  Henry  thus  remarks  upon  the  Arch- 
bishop's changed  appearance:  "Kommst  Du  aus  der  Mauser?  Die 
Federn  sind  Dir  ausgefallen  und  die  Widderhornchen  Deiner  ritterlichen 
Schuhe  hast  Du  Dir  abgestoszen.""  The  author  adopts  the  same  tone  in 
his  comment:  "Die  plotzliche  Wendung  mit  welcher  Hans  sein  Schifflein 
aus  dem  Fahrwasser  des  eigenen  Lebens  in  die  Stromung  eines  groszeren 
hineinsteuerte,  gab  dem  Chorherrn  einen  Stosz."^ 

Jiirg  expresses  his  emotion  in  figurative  terms:  "Ich  bin  ein  vom 
Stamme  gerissener,  auf  dem  Strome  treibender  Zweig  und  kann  nicht 
Wurzel  schlagen,  bis  ich  den  Boden  der  Heimat  erreiche  und  getrankt 
werde  mit  dem  Blute  gerechter  Suhne."^ 

Poetic  are  the  comparisons  of  sensible  objects  with  mental  qualities, 
or  the  opposite,  which  occur  in  fewer  numbers.  Giulio  tells  Strozzi  of  his 
mistake  in  judging  Lucretia's  character:  "Siehst  Du  nicht,  dasz  es  nur  der 
Rettungsgiirtel  ihres  vom  Vater  ererbten  Leichtsinnes  ist,  der  sie  oben  halt  ? 
Und  dasz  sie  nun  iiber  der  totlichen  Tiefe  hell  und  sorglos  dem  Porte  der 
Tugend  zukampft,  haltst  Du  fur  damonische  Grosze."s  The  workings  of 
Jenatsch's  mind  are  revealed  to  us  just  as  it  is  suggested  that  he  himself 
becameawareof  his  position:  "das  Schreiben  des  Kapuziners  ....  deckte 
ihm  in  blitzartiger  Beleuchtung  die  Windungen  eines  halsbrechenden  Pfades 
auf."*^  Very  characteristically  does  Hans  describe  the  chancellor's  diplo- 
macy: "  Er  stiesz,  figiirlich  geredet,  einen  Fensterladen  nach  dem  andern  auf, 
so  dasz  eine  grosze  Helle  entstand,"?  and  "Er  packte  die  Last  auf 
dem  Riicken  des  Saumtieres  um,  ohne  sie  zu  vermindern  und  sorgte  nur 
dafur,  dasz  die  Riemen  nicht  zu  tief  ins  Fleisch  schnitten."^  The  king's 
depression  is  likewise  depicted  in  terms  most  familiar  to  the  archer: 

An  jenem  Tage  verwundete  ein  Giftpfeil  das  Herz  Konig  Heinrichs.  Erst 
war  der  Strich  nur  klein  und  mitunter  schien  es,  als  wolle  er  heilen.  Aber  in  der 
Tiefe  eiterte  er  fort  und  frasz  immer  schmerzhafter  ins  Fleisch  bis  zuletzt  von 

I  Der  Heilige,  p.  59.  s  Angela  Borgia,  p.  47. 

'  Ibid.,  p.  148.  6  Jitrg  Jenatsch,  p.  232. 

3  Ibid.,  p.  32.  "J  Der  Heilige,  p.  103. 

*  Jiirg  Jenatsch,  p.  146.  *  Ibid.,  p.  122. 


92         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

diesem  einzigen  Punkte  aus  Herrn  Heinrichs  ganzes  Wesen  untergraben  und 
sein  Konigsleben  zerstort  wurde.' 

Irony  is  sometimes  concealed  in  the  metaphor,  as  in  the  comment  on 
Fagon's  tale:  "das  Behagen  an  einer  Erzahlung,  deren  Wege  wie  die 
eines  Gartens  in  einen  und  denselben  Mittelpunkt  zusammenlief en :  der 
Konig,  immer  wieder  der  Konig  !"*  Compare  also  Astorre's  feelings  while 
Germane  woos  Antiope :  ' '  Und  jetzt  wuhlte  und  wimmelte  schon  ein  ganzes 
Nest  grimmiger  Schlangen  in  seinem  Busen." — "Oder  kriimmte  sich 
eine  Natter  ?  .  .  .  .  oder  zischte  die  Schlange  P"^ 

Allegory. — Becket's  subtler  mind,  his  Saracen  blood  and  training  demand 
a  corresponding  eloquence  and  allegorical  expression.   He  calls  the  church — 

"  ein  Doppelwesen  ....  das  aus  Leib  und  Seele  besteht.  Der  Leib  ist  ein  Heer 
von  Geschorenen  und  Ehelosen,  ein  paar  tausend  von  Miinstem  und  Klostem, 
ein  Biindel  von  Gebrauchen,  Geliibden  und  auf  FabelnundFalschungen  beruhen- 

den  Anspriichen Die  Seele  der  Kirche  aber  ist  Tugend,  Bescheidenheit, 

Erbarmen,  Keuschheit — kurz,  Alles,  was  jener  Andere  lehrte,  den  sie  gekreuzigt 

haben " 

"Das  Volk,  aber,  o  Herr,  kann  Gefasz  und  Inhalt  nicht  trennen.''^ 

In  shorter  speeches  his  language  is  more  poetical  than  that  of  the  other 
characters.  Regarding  his  acceptance  of  the  primacy,  he  says:  '"Du 
kannst  nicht  glauben,   o  Konig  ....  dasz   auf    diesen    abgestorbenen 

Baum  noch  ein  Thau  des  Himmels  fallen  moge '"s     However, 

Meyer  often  makes  use  of  an  extended  allegory  to  summarize  an  existing 
condition  of  affairs,  as  that  of  the  church  just  quoted.  Compare  Gasparde's 
description  of  the  situation  in  Paris^  and  Jenatsch's  of  Biinden's  need  of  a 
savior.' 

Antithesis. — Meyer's  use  of  contrast,  manifested  in  so  many  ways, 
appears  again  in  the  form  of  antithesis.  Probably  the  most  graceful  example 
is  the  sentence  referring  to  page  Leubelfing's  experience  in  the  thick  of  the 
battle :  "So  f ristete  er  sich  und  genosz  das  hochste  Leben  mit  der  Hiilf e  des 
Todes."^  Very  often  the  element  of  incongruity  and  surprise  gives  a 
humorous  effect,  as  in  some  of  the  following : 

Einem  ehrlichen  Gaul  und  einem  gut  Katholischen  Christen  wird  heutzutage 
viel  Geduld  zugemutet.^ 

I  Der  Heilige,  p.  157.  '  Die  Leiden  eines  Knaben,  p.  260. 

3  Die  Hochzeit  des  Monchs,  pp.  116,  120,  121. 

*  Der  Heilige,  pp.  128,  129.  '  JUrg  Jenatsch,  pp.  120,  121. 

5  Ibid.,  p.  135.  8  Guslav  Adoljs  Page,  p.  301. 

6  Das  Amulet,  p.  85.  9  Jiirg  Jenatsch,  p.  188. 


STYLE  93 

Und,  nachdem  sie  [the  witch  Mary]  wiUig  bekannt,  um  ihre  reuige  Seele  aus 
dem  ewigen  Brande  zu  retten,  zum  zeitlichen  Feuer  begnadigt  wurde.^ 

Waren  aber  die  Worte  des  Kanzlers  nicht  allesammt  christUch,  so  wurden  es 
seine  Werke  je  mehr  und  mehr." 

Du  auf  dem  Stuhl  von  Canterbury,  und  der  Thron  St.  Petri  kracht  in 
seinen  Fugen !  Du  unter  der  Mitra,  und  dem  heiUgen  Vater  wackelt  die  seinige 
auf  dem  Kopfe!^ 

Climax. — Joined  with  climax,  the  antithesis  becomes  emphatic.  So  in 
Schadau's  eulogy  of  Dandelot  Coligny:  "Kein  Feldherr,  aber  ein  tapferer 
Krieger;  kein  Staatsmann,  aber  ein  standhafter  Parteigenosse ;  kein 
Heiliger,  aber  ein  warmes  treues  Herz!"'*  Besides  adding  force,  climax 
either  describes  or  reveals  emotion.  Thus  the  page's  experiences  are 
depicted:  "Dann  erfiillte  sie  vom  Wirbel  zur  Zehe  eine  selbstsuchtige 
Freude,  ein  verstohlener  Jubel,  ein  Sieg,  ein  Triumph  iiber  die  Aehnlichkeit 
ihres  kleinen  mit  diesem  groszen  Lose."s  Hans'  recollections  awaken 
regret,  "aber  ich  verwickelte  mich  in  einen  Greuel  und  in  eine  Thorheit, 
die  Herrn  Heinrich  die  Krone,  das  Leben  und — wehe — seiner  Seele 
Seeligkeit  gekostet  hat.'"^ 

Personification. — Inanimate  objects  are  occasionally  personified  as  in 
the  sentence,  "das  gegeniiber  liegende  grosze  Miinster  aber  verharrte  in 
einem  misbilligenden  Schweigen."^  Natural  objects  andjfate  are  thus 
given  life.  The  author  says  of  Lucretia  Borgia's  past  life :  "Diese  wiirde 
noch  hinter  ihr  drohen  und  die  Furienhaare  schiitteln,  aber  durfte  nicht 
nach  ihr  greifen."^  Compared  with  the  other  figures  of  speech,  personi- 
fication plays  a  very  small  part  in  the  Novellen. 

Allusions. — Meyer's  acquaintance  with  literature,  history,  and  art  is 
apparent  in  the  allusions  noted  in  the  Novellen.  The  literary  sources  are 
the  Bible,  mythology,  and  secular  literature.  There  seems  to  be  no  definite 
relation  between  the  distribution  of  allusions  from  the  various  sources  and 
the  period  in  which  the  scene  of  the  Novelle  is  laid,  approximately  as  many 
occurring  in  the  earlier  ones  as  in  the  Renaissance  Novellen,  excepting 
Jiirg  Jenatsch  which  contains  more  because  of  its  greater  length.  Yet  in 
each  case  the  allusion  is  woven  into  the  narrative  or  dialogue  appropriately. 
Indeed,  in  many  instances  the  biblical  wording  is  so  typical  of  certain 
experiences  or  ideas  that  it  has  become  part  of  the  vocabulary  of  everyone 
and  is  used  without  definite  consciousness  of  the  allusion.     Of  such  an 

I  Der  Heilige,  p.  55.  5  Gustav  Adoljs  Page,  p.  302. 

'  Ibid.,  p.  121.  (>  Der  Heilige,  p.  71. 

3  Ibid.,  p.  134.  7  Ibid.,  p.  4. 

*  Das  Amulet,  p.  35.  8  Angela  Borgia,  p.  3. 


94         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

unobtrusive  nature  are  many  in  Meyer's  Novellen,  like  "Hiobspost." 
Many  of  the  biblical  references  are  symbolic ;  these  have  already  been 
remarked.^  Cardinal  d'Este  repeats  the  old  excuse:  ''Das  Weib  verfuhrte 
mich!  .  .  .  .Sie  lobte  Deine  Augen!  .  .  .  ."*  Fausch  says:  *' Die  Tradi- 
tion jedoch  der  volkstumlich  groszen  Taten  erlischt  nicht,  auch  wenn  ein 
pedantischer  Geschichtschreiber  sie  heimtuckisch  unter  den  Scheflfel  stellen 
sollte."3  Pescara  characterizes  the  ItaUans:  "Sie  heucheln  Leben  und 
sind  tot  in  ihren  Uebertretungen  und  Siinden.''^  Hans'  dreams  are 
disturbed  by  the  warring  spirits  of  Henry  and  his  primate:  "Des  Nachts 
sah  ich  sie  aufeinderstoszen  mit  Rauch  und  Feuer,  wie  der  Apostel  Hans 
in  seiner  Oflfenbarung  schreibt."5  Several  passages  from  the  Bible  are 
quoted  literally. 

Mythological  material  is  frequently  used  in  the  similes  and  metaphors. 
These  allusions  are  not,  however,  so  limited.  Many  reminiscences  of  Homer's 
figures  occur,  as  that  of  Achilles  already  mentioned.^  Compare  also  the 
following  in  the  conversation  of  the  Pope  and  Victoria  Colonna:  "Achilles 

ziirnt  im  Zelte,  so  horte  ich Nicht  wegen  einer  rosigen  Briseis, 

Madonna."7  Ferrante  speaks  of  the  union  of  Lucretia  with  Duke  Alphonse 
as,  "Venus  neben  dem  ruszigen  Vulcan."^  The  Odyssey  is  General  Wert- 
miiller's  favorite  poem.  He  says  to  his  cousin:  "Dich  entnervt  die  glieder- 
losende  Senectus!"^  the  word  "  gUederlosend "  being  an  exact  translation 
of  the  Greek  Xvo-t/icXr/s  used  in  the  Odyssey  as  an  epithet  of  sleep.  Virgil's 
story  of  Laokoon  is  referred  to  in  Der  Heilige  as  well  as  his  words,  "Sunt 
lacrimae  rerum,"  which  Hans  translates:  Er  [the  verse]  bedeutet,  dasz 
man  die  menschlichen  Dinge  nicht  zu  stark  pressen  soil ;  denn  sie  sind 
innerhalb  voller  Thranen."^° 

The  croak  of  the  frogs,  "Brekekex  koax  koax,"  is  given  from  Aristoph- 
anes," Poggio  begins  his  story  in  the  manner  of  an  ItaUan  novella.  As 
Dante  and  Ariosto  figure  in  the  stories,  so  also  is  much  said  about  their 
poems.  Fagon  admires  MoUere,  while  Mirabelle  still  speaks  the  language 
of  Fraulein  von  Scudery.  Wertmiiller  acts  the  role  of  Rubezahl.  Becket 
entertains  the  princes  by  telling  them  Tierfabeln,  a  mode  of  instruction 
which  bears  fruit  in  the  contrast  drawn  by  Prince  Henry  between  his  father 
and  Becket:  "Wie  hielte  der  feine  Berber hengst  mit  dem  borstigen  Eber 

I  See  above,  pp.  45,  47,  55.  4  Die  Versuchung  des  Pescara,  p.  132. 

»  Angela  Borgia,  p.  95.  s  Der  Heilige,  p.  16. 

3  Jiirg  Jenatsch,  p.  106.  *  gee  above,  p.  90. 

7  Die  Versuchung  des  Pescara,  pp.  44,  45. 

8  Angela  Borgia,  p.  16.  ^°  Der  Heilige,  p.  136. 

9  Der  Schusz  von  der  Kanzel,  p.  186.         'i  Der  Schusz  von  der  Kanzel,  p.  174. 


STYLE 


95 


Freundschaft  ?"^  The  minister  Wertmiiller  sadly  exclaims:  "Mein 
Amt,  meine  Wiirde!"  and  the  author  adds:  "Mit  diesen  vier  schlichten 
Worten  war  dasselbe  ausgedriickt,  was  uns  in  jener  groszartigen  Tirade 
erschiittert,  mit  welcher  Othello  von  seiner  Vergangenheit  und  seinem  Amte 
Abschied  nimmt."^  References  to  Tell  occur  in  both  Jilrg  Jenatsch 
and  in  Der  Schusz  von  der  Kanzel.  In  Das  Amulet  is  the  expression,  "Eid- 
genossen  auf  dem  Riitli/'^  and  in  Jiirg  Jenatsch  the  words,  "in  das  Land 
des  Lorbeers  und  der  Myrte,"-*  a  reminiscence  of  Mignon. 

Epigrams. — It  is  in  keeping  with  our  idea  of  Hans,  the  aged  and  faithful 
attendant,  who  has  traveled  and  seen  various  sides  of  life,  that  he  should 
express  his  thoughts  in  short,  pithy  sayings  and  use  many  of  our  common 
proverbs.  He  is  epigrammatic  when  he  says:  "So  schnell  wird  am  Hofe 
ein  Gefurchteter  zu  einem  Verlachten."s  The  other  story-tellers  utter 
similar  truths.  Poggio  says:  "Man  soil  mit  dem  Volke  nicht  scherzen.""^ 
Dante  is  made  to  voice  the  author's  sentiments:  "Jede  Befreiung  aus 
einem  an  sich  unnaturlichen  Stande  ist  eine  Wohltat:"^  and  again:  "denn 
der  Geiz  ist  ein  gesundes  Laster  und  laszt  zu  Jahren  kommen."^  Pater 
Mamette  says:  "Denn  Liebe  schlagt  gering  an,  was  sie  verschuldet  und 
bedarf  einer  groszen  Vergebung."^  Planta  critizes  Jurg's  pride:  "Hoch- 
mut  kleidet  schlecht,  wo  das  Brot  im  Hause  mangelt."'°  Jenatsch  says: 
"Keiner  gewinnt,  der  nicht  den  vollen  Einsatzauf  den  Tisch  wirft.""  These 
brief,  crisp  statements  are  characteristic  of  Meyer,  who  always  compressed 
his  thought  into  the  most  significant  form.  They  also  give  an  ethical 
coloring  to  his  work. 

The  figurative  style,  then,  is  not  bombastic  but  restrained.  It  beautifies, 
but  it  is  always  in  harmony  and  organic  with  the  content,  aiding  the  com- 
prehension and  deepening  the  impression  of  truth. 

Qualities  of  style:  Clearness  and  strength. — From  the  concreteness  of 
Meyer's  treatment,  and  the  predominance  of  short  sentences,  the  clearness 
of  his  style  will  be  appreciated.  It  is  warm  and  pictorial  but  the  ornament 
never  takes  first  place  over  the  idea.  The  use  of  climax  and  repetition, 
the  rapidity  of  movement,  the  typical  quahty  of  his  characters,  and  the  tone 
of  firm  conviction  give  his  work  forcefulness  and  strength. 

Humor. — Suggestions  of  humor  are  found  here  and  there  throughout  the 

1  Der  Heilige,  p.  iii.  7  Die  Hochzeit  des  Monchs,  p.  6. 

2  Der  Schusz  von  der  Kanzel,  p.  200.  8  /ft«/.,  p.  q6. 

3  Das  Amulet,  p.  19.  9  Angela  Borgia,  p.  238. 

4  Jilrg  Jenatsch,  p.  256.  1°  Jilrg  Jenatsch,  p.  19. 
s  Der  Heilige,  p.  144.                                  "  Ihid.,  p.  51. 

6  Plauius  im  Nonnenhloster,  p.  224. 


96         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

Novellen,  even  in  connection  with  pathetic  passages.  Der  Schusz  von  der 
Kanzel  is  a  humorous  sketch,  but  Meyer  apparently  got  no  genuine  pleasure 
from  writing  it.''  Nevertheless,  the  author  knew  how  to  use  this  quality  with 
artistic  effect,  and  particularly  in  his  characterization.  In  Jilrg  Jenatsch 
alone  there  are  three  characters  who  are  presented  in  a  kindly  way,  but 
so  as  to  show  their  weaknesses:  Fausch,  Herr  Verbi  divini  Minister  Denzler, 
and  Biirgermeister  Meyer.  Even  the  figures  of  Waser  and  Wertmiiller 
are  at  times  seen  from  this  point  of  view,  the  latter  being  allowed  to  show 
his  self-satisfaction  and  critical  attitude  toward  others  in  his  letter  to  his 
cousin  in  Milan.  The  descriptions  of  Waser  and  of  the  Biirgermeister 
have  been  quoted.  The  latter's  nervousness  when  making  his  farewell 
speech  to  Rohan  leads  him  to  say:  "Und  wenn  in  Biinden  jeder  Berg 
eine  Statua  ....  und  jede  Statua  ein  Berg  ware."^  Fausch's  boastful- 
ness  leads  him  into  unforeseen  self -exposure,  as  on  the  occasion  when  he 
is  trying  to  impress  Wertmiiller  with  the  important  part  he  has  played  in 
his  country's  affairs.  He  tells  how  he  was  sent  to  the  French  ambassador 
but  suddenly  stops  when  recaUing  the  Frenchman's  anger  at  being  waited 
upon  by  such  a  "Weinschlauch."  The  word  has  to  be  supplied  by  Jenatsch 
who  arrives  at  the  moment.  The  figure  of  Mouton  in  Die  Leiden  eines 
Knaben,  with  his  threadbare  elbows  and  meaningless  paintings,  his  ideas 
on  education  and  lack  of  respect  for  authority  or  even  humanity  in  general, 
gives  a  touch  of  humor  to  this  otherwise  pathetic  story,  as  does  also  the 
flowery  language  in  which  Mirabelle  expresses  herself.  The  reader  gets 
a  vivid  image  of  Leubelfing  reproached  by  both  his  father  and  cousin  for 
his  timidity  and  again  when  the  old  woman's  cap  rests  upon  his  anxious 
brow. 

The  author  also  sketches  humorous  situations,  examples  of  which  are 
Lucretia's  visit  to  Jiirg  in  the  school,  the  abbess'  presentation  to  Poggio 
of  a  copy  of  his  own  facetiae,  and  the  absent-minded  answers  of  Astorre 
to  the  fool.3  The  last-named  situation  shows  by  contrast  Astorre's  emotional 
state.  The  incongruity  evokes  a  smile  even  though  the  tragic  issue  is 
foreseen.  The  jesting  conversation  of  Ariosto  and  Ben  Emir  about  the 
rugs  immediately  precedes  the  most  tragic  scene  of  Angela  Borgia.'^ 

The  repetition  in  the  following  sketch  of  Krachhalder  with  its  emphasis 
on  commonplace  details  raises  it  above  the  level  of  an  ordinary  description : 

I  "Mir  individuell  hinterlaszt  das  Komische  immer  einen  bitteren  Geschmack, 
wahrend  mich  das  Tragische  erhebt  und  beseligt." — Letter  to  Wille,  1879.  See  Frey, 
op.  cit.,  p.  292. 

»  Jiirg  Jenatsch,  p.  290.  4  Angela  Borgia,  p.  42. 

3  Die  Hochzeit  des  Monchs,  pp.  108,  109. 


STYLE  97 

Siisz  war  ihm  nach  dem  Schweisze  der  Woche  der  Kirchgang  im  reinlichen 
Sonntagsrocke  und  den  Schnallenschuhen,  siisz  und  nachdenklich  Taufe  und 
Bestattung,  die  den  Gottesdienst  und  das  menschliche  Leben  begrenzen  und 
einrahmen,  susz  das  Angeredetwerden  als  sterblicher  Adam  und  unsterbliche 
Seele,  siisz  das  Kampfen  mit  dem  Schlummer,  das  Uebermanntwerden,  das 
Wiedererwachen;  siisz  das  kraftige  Amen,  siisz  das  Zusammenstehen  mit  den 
Aeltesten  auf  dem  Kirchhofe  und  die  Begriiszung  des  Pfarrers,  siisz  das  gemiitliche 
Heimwandeln.' 

The  burlesque  tone  of  the  next  is  seldom  adopted: 

Gerade  an  jenem  Abende  war  unter  den  Froschen  der  Au  ein  junger  Lyriker 
von  bedeutender  Begabung  aufgetaucht,  der  das  feste  und  gegebene  Motiv  der 
Froschlyrik  so  keck  in  Angriff  nahm  und  so  gefiihlvoll  behandelte,  dasz  der  begeis- 
terte  Chor  nicht  miide  wurde,  die  vorgesungene  Strophe  mit  unersattlichem 
Enthusiasmus  zu  wiederholen.* 

Some  characters  speak  the  language  of  a  strange  people  with  difficulty. 
The  best  illustration  is  Hassan,  General  Wertm tiller's  body-servant,  who 
annoys  the  boatmen  on  the  lake  by  shouting  to  them  through  the  speaking- 
trumpet  words  learned  from  his  master,  who  speaks /for  pf,  as  Faffen  for 
Pfaffen.  Hassan's  limited  vocabulary  compels  him  to  speak  in  incomplete 
sentences,  as  "Langweilig  Frosch !"  a  remark  made  to  Pfannenstiel,  detained 
by  Wertmijller  at  his  home  and  forced  to  listen  to  the  frog-concert  described 
above.  Again,  Wertmiiller,  in  addressing  Rachel,  uses  the  words,  "Was 
dichtest  und  trachtest  du  ?  "3  evidently  derived  from  the  phrase  "  Dichten 
und  Trachten."  The  seriously  offended  Krachhalder  insists  that  the  shoot- 
ing in  the  church  be  investigated  by  the  "Synagoge,"  meaning  the 
"Synode."4 

This  is  very  close  to  punning,  of  which  some  conspicuous  examples  are 
found.  The  whole  of  Die  Leiden  eines  Knaben  turns  on  the  name,  "Bete 
a  miel,"  given  to  Pere  Amiel.  Dante  thus  explains  the  meaning  of  the 
name  "  Amarelle":  "  'Amarelle  oder  Amare,'  erlauterte  Dante,  'heiszt  das 
paduanische  Hochzeitsgeback  wegen  seines  bittern  Mandelgeschmackes 
und  zugleich  mit  anmutiger  Anspielung  auf  das  Verbum  der  ersten  Kon- 
jugation.'"5  Ezzelin  advises  Astorre:  '"Nimm  die  Minen  ....  und 
gieb  die  Minne.'"^ 

Pathos. — The  Novelle  which  in  its  central  idea  is  essentially  pathetic  is 
Die  Leiden  eines  Knaben.  Nevertheless,  there  are  places  in  the  other  stories 
where  the  restrained  simplicity  or  brevity  of  speech  produces  this  effect. 
In  Jiirg  Jenatsch  the  answers  of  the  Spanish  officer  to  Jvirg's  questions 

I  Der  Schusz  von  der  Kanzel,  pp.  201,  202.       4  Ibid.,  p.  204. 

»  Ibid.,  p.  174.  s  Die  Hochzeit  des  Monchs,  p.  45. 

3  Ibid.,  p.  158.  6  Ibid.,  p.  147. 


98         TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

together  with  his  appearance  show  the  almost  certain  prospect  before  the 
speaker  himself.  He  says  his  companion  who  had  had  the  fever  is 
"Verreist."  "Dorthin.  Auf  immer.  Ihr  konnt  Euch  als  seinen  Erben 
betrachten."'  Lucretia  reaUzes  the  pity  of  Jiirg's  situation,  that  he  has 
so  much  magnetism  and  influence  over  others  and  yet  has  done  the  one 
thing  which  forbids  their  happiness,  when  she  says  to  him:  "  Wie  konnt'  es 
Dir  fehlen,  wenn  Kapuziner  und  Frauen  flir  Dich  botenlaufen!"*  Rohan 
recovers  from  his  illness  brought  on  by  his  misgivings,  only  to  experience  a 
severer  trial,  and  sighs :  "Herr,  ....  warum  hast  Du  Deinen  Diener  nicht 
in  Ehren  dahin  fahren  lassen!"3  The  same  restraint  is  found  in  Hans' 
references  to  Grace's  death.  When  she  lies  dead  in  the  chapel,  he  sees 
her  birds  and  remarks:  "Aber  nirgends  war  ein  menschliches  Wesen, 
das  sich  daran  gefreut  hatte."^  Again,  the  chancellor  speaks  of  the  treasures 
the  king  has  lavished  upon  him,  which  can  now  only  become  the  prey  of 
moths  and  rust.s 

In  Die  Leiden  eines  Knaben  the  Countess  Mimeure  speaks  flippantly 
of  that  which  she  feels  keenly:  "Nun  fault  der  kecke  Bube  dortiiben — in 
einem  belgischen  Weiler.  Aber  die  schmalen  Erbteile  seiner  fiinf  Schwes- 
tern  haben  sich  ein  bischen  gebessert."^  The  simple  Pere  Amiel  is  a  pathetic 
figure  at  Julian's  bedside  and  Fagon's  comment  on  his  true  merit  is  touch- 
ing: "Giebt  es  elysische  Gefilde,  denke  ich  dort  den  Pere  zu  finden,  ohne 
langen  Hut,  mit  proportionierter  Nase,  und  Hand  in  Hand  mit  ihm  einen 
Gang  durch  die  himmlischen  Garten  zu  tun." 7 

Repetitions  such  as  the  references  to  Christ  kissing  Judas  in  Der  Heilige 
and  of  place-settings  as  in  Angela  Borgia  add  to  the  pathos.  These  have 
been  mentioned  above.* 

Irony. — Meyer's  quiet  observation  of  all  that  happened  about  him  gave 
him  opportunity  to  discover  the  contradictions  in  human  character  and  the 
mistaken  opinions  people  have  of  themselves.  The  Middle  Ages  when 
the  individual  opinion  counted  for  so  little  and  authority  was  bUndly  upheld, 
when  knowledge  of  other  countries  than  one's  own  was  Hmited  and  ideas 
correspondingly  so,  afforded  Meyer  a  chance  for  contrasting  it  with  the 
new  order  of  things.  This  is  what  he  attempted  to  do  in  Der  Heilige. 
"Ich  glaubte  so  viel  hineingelegt,  das  Mittelalter  so  fein  und  grundlich 
verspottet  und  in  Becket  einen  neuen  Charakter  gezeichnet  zu  haben !"« 

^  Jilrg  Jenatsch,  p.  61.  ^  Die  Leiden  eines  Knaben,  y>- 222. 

»  Ihid.,  p.  247.  7  Ibid.,  p.  265. 

3  Ibid.,  p.  224.  ^  See  pp.  45,  79. 

4  Der  Heilige,  p.  97.  »  Quoted  in  Langmesser,  p.  106. 
s  Ibid.,  p.  135. 


STYLE  99 

Likewise,  in  Angela  Borgia  he  has  given  a  searching  picture  of  the  follies 
of  the  age  and  the  lack  of  true  guiding  principles  of  conduct  among  these 
people  who  prided  themselves  on  their  abiUty  not  merely  to  direct  their 
own  lives  but  to  govern  states,  by  creating  a  significant  example  of  a  new 
type  in  Angela. 

In  Der  Heilige,  King  Henry  unconsciously  uses  self-irony,  when  he 
boasts  that  he  has  done  more  for  Becket  than  for  any  of  his  Norman  sub- 
jects.^ He  rebukes  Becket  for  joking  over  sacred  things  and  expresses 
his  wish  to  live  and  die  as  a  humble  Christian.  But  when  the  Archbishop 
is  transformed,  the  king  is  incensed  and  says  the  Bible  belongs  only  on 
the  altar  and  is  not  to  be  used  as  a  guide  to  conduct.* 

Jenatsch,  at  first  attracted  by  Rohan's  gentleness  of  character,  finally 
shows  his  disappointment  at  the  influence  of  the  latter's  piety  on  his  political 
effectiveness,  and  uses  ironically  the  name  by  which  the  people  call  Rohan 
to  show  their  affection  for  him,  "der  gute  Herzog."^  Fagon  describes  the 
dog  Mouton  as  "der  begabteste  meiner  drei  Gaste."-* 

There  is  tragic  irony  in  the  selection  of  incident.  Julian's  father  takes 
his  son's  short-sighted  friend  Guntram  with  him  to  the  war  and  leaves  at 
home  his  own  son,  a  skilful  swordsman  and  an  excellent  marksman.  It  is 
Astorre's  undoing  that  he  is  compelled  as  a  prospective  relative  to  accom- 
pany Germano  when  the  latter  goes  to  woo  Antiope  from  a  virtuous  sense 
of  restoring  harmony  among  his  friends.  The  woman  of  the  people  who  are 
celebrating  Astorre's  wedding  in  the  square  outside,  calls  out:  "Ueber  ein 
Kurzes  schlummert  der  Monch  Astorre  neben  seiner  Gattin  Antiope.  "s 
And  indeed,  the  monk  and  his  wife  soon  enter  upon  unending  sleep. 
EzzeUn  has  another  opportunity  of  gratifying  his  fancy  for  closing  the  eyes 
of  the  dead. 

Sarcasm. — In  Der  Heilige,  Becket,  alone,  as  typifying  mental  power, 
uses  sarcasm.  His  attitude  toward  the  king's  assertion  of  his  supreme 
authority  in  religious  matters,  "Was  vermag  ich  gegen  die  hohe  Weisheit 
des  Jahrhunderts,  welche,  o  Herr,  die  Deinige  ist  1'"^  and  his  opinion  of  the 
Pope  and  various  members  of  the  clergy  are  unmistakable.  Fagon  adopts 
the  same  tone  in  speaking  of  the  persecution  and  death  of  his  father  because 
of  his  religion.  The  people  liked  him  and  would  have  restored  him  to  the 
CathoUc  church,  "aber  nicht  mit  Gewalt,  denn  Ihr  habet  es  gesagt.  Sire, 
man  zwingt  die  Gewissen  nicht.  Also  verbundeten  sie  sich,  die  calvinis- 
tische  Apotheke  zu  meiden."7 

I  Der  Heilige,  p.  137.      '  Ibid.,  p.  154.      s  Die  Hochzeit  des  Monchs,  p.  159. 
3  Jiirg  Jenatsch,  p.  228.  *  Dgf  Heilige,  pp.  55,  126,  127. 

*  Die  Leiden  eines  Knaben,  p.  207.  7  Die  Leiden  eines  Knaben,  p.  204. 


lOO      TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

Adornments  of  style. — Many  instances  of  the  cadence,  rhythm,  and 
harmony  in  Meyer's  style  have  been  noted  in  other  places.  The  significance 
behind  the  beautiful  exterior  prevents  his  work  from  being  merely 
fine  writing. 

Description. — To  speak  of  description  as  one  of  the  kinds  of  com- 
position in  the  Novellen  is  to  repeat  what  has  already  been  said  in  the 
discussion  of  the  characters  and  of  the  settings.  The  tone  harmonizes  in 
earnestness  with  the  tenor  of  the  thought ;  the  descriptions  are  not  merely 
allowed,  but  generally  required.  They  have  truth  and  reality,  presented 
in  concrete  terms,  with  no  exaggeration,  reproducing  definite  places,  colors, 
sounds.  The  emphasis  on  the  latter,  appealing  to  the  eye  and  the  ear, 
shows  the  dramatic  quality  of  Meyer's  descriptions. 

Narration. — The  Novellen  have  a  large  proportion  of  "story."  While 
Meyer  was  mainly  interested  in  the  events  of  the  inner  spiritual  Hfe  of  his 
characters,  yet  he  presents  these  through  definite  external  episodes  of  sufl&- 
cient  number  and  variety  to  give  the  effect  of  movement.  The  story 
having  the  least  movement  of  outer  action  is,  perhaps,  Der  Heilige.  Yet 
this  has  action  enough  to  interest  a  reader  who  would  not  appreciate 
the  psychology.  Again,  Meyer  concentrates;  there  are  no  useless  circum- 
stances. The  steps  in  the  action  are  presented  concisely,  and  always  with 
a  clearly  motived  development  to  a  climax. 

Dialogue. — The  dialogue  in  the  Novellen  is  natural  in  that  the  speeches 
follow  one  another  logically.  They  are  in  harmony  with  the  character  of  the 
speaker,  as  has  already  been  seen  in  the  use  of  figurative  language,  proverbs, 
irony,  sarcasm.  The  dialogue  both  reveals  character  and  evolves  plot. 
An  illustration  of  the  former  is  the  conversation  between  Henry  II  and 
Becket  concerning  the  attempt  of  the  French  king  to  entice  the  chancellor 
away  from  Henry  to  himself.  The  king,  who  has  so  deeply  wronged  his 
friend,  speaks  thoughtlessly  and  impulsively,  even  boldly.  Becket  answers 
cautiously  and  almost  threateningly,  veiling  the  significance  of  his  words 
with  an  apparent  sense  of  speaking  foolishly.^  Again,  Becket's  enigmatical 
answer  to  Hans  in  the  garden  of  the  monastery  is  an  expression  of  his  inner 
conflict:  "Schlimm  wenn  die  siisze  Gnade  verloren  ging  ....  das  sei 
ferne."^  Pere  Tellier  will  make  his  defense  seem  simple  and  the  occurrence 
quite  an  ordinary  thing  not  deserving  the  indignation  of  Fagon  and  Argen- 
son  which  it  has  provoked. 3  He  tells  his  story  in  short  matter-of-fact 
sentences.  Argenson  has  a  curt,  quiet  manner  of  speaking,  usual  with 
one  who  transacts  a  great  deal  of  important  business  and  whose  time  is 
precious.     Wertmiiller's  abruptness  of  speech  is  characteristic. 

1  Der  Heilige,  pp.  115,  116.  3  Die  Leiden  eines  Knaben,  pp.  252,  253. 

2  Ibid.,  p.  182. 


STYLE  lOI 

We  get  information  of  events  and  people  up  to  the  time  of  the  story  as 
well  as  of  happenings  intervening  between  parts  of  the  story  through  the 
conversation  of  the  characters.  In  Jiirg  Jenatsch  much  knowledge  of 
affairs  is  gained  to  start  with  from  Waser's  conversations  with  Planta  and 
Jenatsch.  The  latter  tells  of  the  popular  credulity,  of  the  importance  of 
the  fort  Fuentes,  the  need  of  a  defensive  attitude  on  the  part  of  the  Swiss 
against  the  Spaniards,  and  of  Planta's  dealings  with  Spain.  The  reader 
learns  about  Jurg's  duel  with  Ruinelli  through  conversation  (with  the 
exception  of  the  papers  sent  to  Grimani). 

Various  topics  are  discussed,  in  each  case  those  that  would  be  of  chief 
concern  or  interest  to  the  characters.  In  Das  Amulet,  Schadau  and  Boccard 
argue  about  the  Protestant  and  Catholic  doctrines.  But  the  story  turns  on 
the  value  of  the  charm  which  Boccard  wears,  and  more  generally,  on  the 
desire  of  the  CathoUcs  to  destroy  the  power  of  the  Protestant  party. 

As  a  good  illustration  of  group  conversation,  the  beginning  of  Die 
Hochzeit  des  Monchs  may  be  noted. ^  The  different  characters  whom  we 
meet  in  Dante's  story  all  show  their  natures  here  by  their  interest  in  the 
theme  of  the  discussion.  The  alternation  of  the  speeches  is  natural,  each 
new  character  being,  as  it  were,  drawn  in  to  the  conversation  by  a  new 
turn  it  takes  appealing  to  his  particular  interest. 

The  dialogic  connectives  are  often  in  the  nature  of  an  aside  to  the  reader, 
explaining  the  situation,  as,  "wiederholte  ich  in  ehrfurchtsvoller  Verwun- 
derung,"  and,  "mit  leiser  Stimme,  wahrend  sich  sein  Antlitz  triibte." 
They  are  frequently  elliptical,  giving  the  speaker's  mood  or  action,  as 
"nickte  Boccard,"  "lachte  sie,"  "fuhr  er  auf,"  "winkte  mir  der  Freund."* 

There  is  extremely  little  indirect  discourse.  The  dramatic  nature  of 
the  narrative  appears  in  the  extensive  use  of  the  direct  form,  except  in  a 
case  where  a  long  and  tedious  series  of  questions  and  answers  would  mar 
the  artistic  whole.  Thus  the  summary  of  the  trial  of  GiuUo  and  Ferrante 
d'Este  is  given  by  the  author  in  connected  sentences  as  an  indication  of  the 
even  and  impartial  course  of  justice  under  the  guidance  of  Alphonse  and 
Strozzi.  On  the  other  hand,  Stemma's  vindication  before  Wulfrin  is 
reported  in  a  way  to  show  the  zeal  of  her  people  in  protesting  her  innocence 
as  well  as  to  show  the  passive  part  played  by  Wulfrin.  It  is  given  in  snatches 
of  sentences,  consisting  of  groups  of  two  or  three  words. 

Very  few  monologues  or  soUloquies  occur.  When  found,  they  reveal 
the  emotional  state  of  the  character,  as  in  the  case  of  Becket's  addresses 
to  the  crucifix. 

Exposition. — The  exposition  in  the  Novellen  is  dramatic.  When  the 
'  Die  Hochzeit  des  Monchs,  pp.  4-1 1.  »  Das  Amulet,  pp.  30,  89,  91,  107. 


I02       TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

author  explains  a  situation  in  his  own  person  or  in  any  way  other  than  through 
dialogue,  there  is  some  particular  reason  for  doing  so.  Thus,  in  Jilrg 
Jenatsch  at  the  end  of  Book  I,  necessary  information  is  given  in  the  report  of 
Dr.  Sprecher,  which  is  a  means  of  making  the  happenings  of  the  first  book 
seem  long  since  past.  Similarly  in  Book  II,  we  are  made  acquainted  with 
the  rumors  of  Jenatsch's  deeds  that  have  reached  Waser  since  the  attack 
on  Berbenn  and  with  the  popular  attitude  toward  his  reputation  as  Wert- 
miiller  has  learned  it  from  ballads  and  representations  at  fairs.  We  get 
here  again  the  impression  of  the  time  that  has  intervened.  For  Wertmtiller 
was  but  a  lad  when  seen  in  Book  I,  and  since  that  time  he  has  followed  the 
story  of  Jenatsch's  prowess  with  eager  interest  at  each  step.  In  Book  III, 
also,  the  author  himself  tells  of  Rohan's  victories  in  Veltlin,  making  a 
definite  impression  of  the  time  that  has  passed.  These  are  the  only  occa- 
sions when  the  author  does  this  himself  in  this  book. 


VII.    CONCLUSION 

When  Meyer's  first  Novelle,  Das  Amulet,  is  compared  with  Jiirg  Jenatsch 
a  distinct  advance  in  his  technique  is  discovered.  There  is  not  the  same 
objectivity  of  treatment  in  the  former  story.  There  are  a  greater  number 
of  characters,  the  material  is  not  as  condensed,  each  word  is  not  as  significant 
as  in  Meyer's  later  work.  The  form  does  not  show  the  same  beauties  of 
figurative  language,  nor  the  features  of  repetition  and  symbolism,  which 
give  the  later  stories  plasticity  and  universality.  In  each  successive  story 
the  desire  to  concentrate  and  simpUfy  is  evident. 

Each  Novelle  seems  to  have  the  appropriate  form  for  the  theme  embodied 
in  it.  Some  defects  have  already  been  noted  in  Angela  Borgia.  As  regards 
the  exposition  of  character  in  Jiirg  Jenatsch,  Der  Heilige,  Die  Hochzeit 
des  M'onchs,  Die  Richterin,  Die  Verstichung  des  Pescara,  there  seems  to  be 
more  subtle  penetration  into  the  motives  of  action  and  the  hidden  emotions 
of  the  human  heart  in  Der  Heilige,  although  this  power  is  also  clearly 
manifested  in  Die  Hochzeit  des  Monchs.  From  the  point  of  view  of  the 
action,  the  relation  between  the  parts  in  the  selection  of  significant  events 
and  the  subordination  of  the  parts  to  the  whole  in  Jiirg  Jenatsch  is  admi- 
rable, particularly  when  the  period  of  time  covered  is  considered.  For  the 
representation  of  the  demonic  influences  of  nature  and  of  the  sway  of  strong 
passions.  Die  Richterin  must  unquestionably  take  first  rank.  Thus  each 
Novelle  presents  a  different  phase  of  Meyer's  art,  as  the  novels  of  several 
authors  may  present  diverging  treatments  of  similar  themes  because  of 
an  altered  point  of  view  and  a  different  purpose,  and  defy  attempts  at  exact 
comparison  and  classification  under  set  categories. 

But  the  study  of  all  the  Novellen  reveals  the  underlying  principle  of 
Meyer's  work,  namely,  that  every  feature  both  of  the  management  of  the 
plot  and  of  the  external  form  is  dependent  upon  the  conception  of  character 
and  thereby  acquires  its  significance.  On  the  other  hand,  each  detail 
adds  to  the  comprehension  of  the  characters.  It  is  this  constant  and  recipro- 
cal interrelation  of  parts  that  makes  Meyer's  work  so  organic.  The  unity 
is  structural  and  essential.  It  is  this  that  constitutes  what  has  been  termed 
by  others  the  Shakespearean  quality  in  his  Novellen.  But  the  reason  for 
the  use  of  such  a  term  has  not  been  given.  We  have  seen  that  it  is  this 
continuous  radiation  and  interweaving  of  the  idea  of  the  characters  with 
the  other  elements  of  the  narratives  that  gives  them  this  vital  and  universal 
appeal. 

103 


I04      TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

None  of  the  biographers  or  critics  of  Meyer  have  really  discussed  the 
Novellen  from  the  point  of  view  of  technique  except  Stickelberger  (Mauer- 
hof's  work  I  was  unable  to  procure).  Stickelberger  has  made  very  good 
observations  on  certain  points:  symbolism,  characterization,  plot,  and 
some  elements  of  style,  but  no  single  topic  is  treated  completely.  This  is 
accounted  for  by  the  fact  that  Stickelberger  starts  with  Meyer's  character 
and  personality,  and  attempts  to  explain  what  he  finds  in  the  Novellen 
as  a  revelation  of  the  author's  personality.  But  this  method  only  presents 
an  indistinct  idea  of  certain  technical  features  without  giving  any  clear 
comprehension  of  the  inner  unity  of  the  Novellen. 

In  general,  it  may  be  said  that  writers  who  attempt  to  give  directions 
for  the  criticism  of  narrative  literature  fail  to  convey  the  impression  that  "''^ 
all  the  features  of  content  and  style  which  may  be  studied  according  to  the 
suggestions  given  are  connected  and  given  their  proper  relations  to  the 
whole  work  by  some  essential  link,  namely,  the  idea  of  the  characters.  It 
is  the  interrelation  of  characters  which  constitutes  the  organic  whole,  and 
the  relative  stress  laid  on  the  individual  ones  determining  their  importance  ^  ■ 
is  included  in  this  central  and  organizing  idea.  The  author  hopes  to  have 
shown  this  inner  connection  between  the  whole  and  the  parts  in  Meyer's 
work,  and  that  this  relation  exists  not  merely  between  the  main  parts  and 
the  whole  but  also  between  the  whole  and  every  detail  of  the  formal  pres- 
entation. The  phrases,  epithets,  symbols,  the  sound  of  the  sentences  must 
conduce  to  the  same  conception.  The  form  of  Meyer's  work,  which  is 
perfect  of  its  kind,  is  not  merely  a  gUttering  adornment,  but  in  every  way 
is  employed  to  emphasize  the  beauty,  poignancy,  and  psychological  import 
of  the  content. 


BIBLIOGRAPHY 

I.    Meyer's  works 

Angela  Borgia.     i8.  Aufl.,  Leipzig,  1905. 

Der  Heilige.     40.  Aufl.,  Leipzig,  1906. 

Jurg  Jenaisch.     Eine  Bundnergeschichte.     79.  Aufl.,  Leipzig,  1907. 

Novellen:  2  Bande.  Bd.  I,  Leipzig,  1906,  37.  Aufl.;  Bd.  II,  Leipzig,  1905,  32. 
Aufl.  Bd.  I,  Das  Amulet;  Der  Schusz  von  der  Kanzel;  Plautus  im  Nonnen- 
kloster;  Gustav  Adolf s  Page.  Bd.  II,  Die  Hochzeit  des  Mdnchs;  Die  Leiden 
eines  Knaben;  Die  Richterin. 

Der  Schusz  von  der  Kanzel.     Edited  by  Martin  H.  Haertel  (Ginn,  1905). 

Die  Versu^hung  des  Pescara.     28.  Aufl.,  Leipzig,  1900. 

II.      WORKS   ABOUT  MEYER 

Bettelheim,  Anton,  Hg.    Louise  v.  Francois  und  Conrad  Ferdinand  Meyer. 

Ein  Briefwechsel.     Berlin,  1905. 
Blaser,   Otto.     ^^ Conrad  Ferdinand  Meyers  Renaissancenovellen,^"    Untersu- 

chungen  z.  neueren  Sprach-  und  Literaturgeschichte.     Hg.  v.  O.  F.  Walzel. 

Heft  8.     Bern,  1905. 
BussE,   Carl.     "Conrad  Ferdinand  Meyer  als  Lyriker"   Beitr.   z.   Literatur- 

Geschichte.     Heft  8.     Hg.  von  Hermann  Graef.     Leipzig,  1906. 
Frey,  Adolf.    Conrad  Ferdinand  Meyer,  sein  Leben  und  seine  Werke.     Stuttgart, 

1900. 
Heine,  Gerhard.    Aus  der  silbernen  Zeit  unserer  Literatur.     Bielefeld  u.  Leip- 
zig, 1905. 
Heyse  und  Laistner.    Neuer  deutscher  NoveUenschatz.     13.  Bd.,  S.  190  f. 
HoLZAMER,  W.     Conrad  Ferdinand  Meyer.     Die  Dichtung.     Bd.  23. 
Kraeger,    Heinrich.     Conrad    Ferdinand    Meyer.     Quellen    u.    Wandlungen 

seiner  Gedichte.     Berlin,  1901. 
Langmesser,  August.    Conrad  Ferdinand  Meyer:    Sein  Leben,  seine  Werke 

und  sein  Nachlasz.     Berlin,  1905. 
Mauerhof,  E.     K.  F.  Meyer  oder  die  Kunstjorm  des  Romans.     2.  Aufl.,  Zurich. 
Meyer,  Betsey.    Conrad  Ferdinand  Meyer.    In  der  Erinnerung  seiner  Schwes- 

ter  Betsey  Meyer.     Berlin,  1903. 
Sahr,  Julius.     C   Ferd.   Meyer:    Jurg  Jenatsch.     Deutsche  Dichter  des  ig. 

Jahrhunderts.     Hg.  vom  Otto  Lyon.     Bd.  11.     Leipzig  u.  Berlin,  1904. 
Saitschik,   R.     Meister  der  schweizerischen  Dichtung  des   ig.   Jahrhunderts. 

Gotthelf,  Keller,  Meyer,  Leuthold,  Dranmor.     Frauenfeld,  1894.   For  Meyer, 

see  S.  205-319. 
Stern.     "Conrad  Ferdinand  Meyer,"  Westermann,  Vol.  86,  710. 
Stoessl,  Otto.     "Conrad  Ferdinand  Meyer,"  Die  Literatur.     Bd.  25.    Hg.  v. 

G.  Brandes.     Berlin. 

105 


y 


Io6      TECHNIQUE  IN  KONRAD   FERDINAND  MEYER' S  NOVELLEN 
III.      WORKS  ON  THE  HISTORICAL  PERIODS  AND  CHARACTERS 

Abbott,  Edwin  A.    St.  Thomas  of  Canterbury.    His  Death  and  Miracles.     2 

vols.     London,   1898. 
Allgemeine  deutsche  Biographic. 
Blackburn,  Wm.  M.    Admiral  Coligny  and  the  Rise  of  the  Huguenots.     2  vols. 

Philadelphia. 
Bourgeois,  Emile.    France  under  Louis  XIV.    Its  Arts.    Its  Ideas.    Tr.  by 

Mrs.  Cashel  Hoey.    New  York,  1897. 
BuRCKHARDT,  JACOB.     The  Civilisation  of  the  Renaissance  in  Italy.     Tr.  by 

S.  G.  C.  Middlemore.    London,  1892. 
Dandliker,  Karl.     Geschichte  der  Schweiz  mit  hesonderer  Riicksicht  auf  die 

Entwicklung  des  Verfassungs-  und  Kulturlebens.     3  Bde.     Zurich,  1901. 
Gregorovius.    Lucrezia  Borgia.    3.  Aufl.     Stuttgart,  1875. 
.    History  of  the  City  of  Rome  in  the  Middle  Ages.    Tr.  by  Annie  Hamil- 
ton.   London,  1899. 
Hook,  Walter  F.    Lives  of  the  Archbishops  of  Canterbury.     London,  1862. 
Geiger.     "Die  Renaissanz  und  der  Humanismus  in  Italien  und  Deutschland," 

in  Oncken,  Allgemeine  Geschichte  in  Einzeldarstellungen.     Berlin,  1882. 
Thierry.    History  of  the  Conquest  of  England  by  the  Normans.    Tr.  by  Wm. 

Hazlitt.    London,  1856.    Vol.  II. 
Voigt.     Wiederbelebung  des  classischen   Altertums  oder  das  erste  Jahrhundert 

des  Humanismus.     Berlin,  1859. 
White,  Henry.     The  Massacre  of  St.  Bartholomew.    London,  1868. 
Whitehead,  A.  W.    Gaspard  de  Coligny.     London,  1904. 

IV.    general  works  on  fiction,  criticism,  and  aesthetics 
Alexander,  Hartley  Burr.    Poetry  and  the  Individual.    An  Analysis  of  the 

Imaginative  Life  in  Relation  to  the  Creative  Spirit  in  Man  and  Nature. 

New  York  and  London,  1906. 
Barrett,  C.  R.    Short  Story  Writing.    New  York,  1900. 
Baldwin,  Charles  Sears.    American  Short  Stories.    Chicago,  1904. 
Besant,  Walter.     The  Art  of  Fiction.     New  ed.     London,  1902. 
BoBERTAG.     Geschichte  des  Romans  u.  der  ihm  verwandten  Dichtungsgattungen 

in  Deutschland.     2  Bde.     Breslau  u.  Berlin,  1877  and  1874. 
Brewster,  Wm.  T.    Representative  Essays  on  the  Theory  of  Style.     Contains 

Essays  by  Newman,  De  Quincey,  Lewes,  Stevenson,  Pater,  Harrison.     New 

York,   1905. 

.     Studies  in  Structure  and  Style.     New  York,  1896. 

Brinkmann,  Friedrich.    Die  Metaphern.    Bonn,  1878. 

Buck,  Gertrude.     The  Metaphor.    A  Study  in  the  Psychology  of  Rhetoric. 

"Contributions  to  Rhetorical  Theory,  V."     University  of  Michigan,  Ann 

Arbor,  Mich. 
Butcher,  S.  H.    Aristotle's  Theory  of  Poetry  and  Fine  Art.     With  a  critical 

text  and  a  translation  of  the  Poetics.     London,  1895. 


BIBLIOGRAPHY  107 

Cairns,  Wm.  B.     The  Forms  0}  Discourse.    Boston,  1896. 

Canby,  Henry  Seidel.     The  Short  Story.    Yale  Studies  in  English,  XII.    New 

York,  1902. 
Carriere,  Moriz.     Die  Poesie:  Ihr  Wesen  u.  ihre  Formen  mil  Grundzugen  der 

vergleichenden  Literaturgeschichte.     2.  umgearb.  Aufl.     Leipzig,  1884. 
Chesterton,  Gilbert  K.    Charles  Dickens.    New  York,  1906. 
Clark,  J.  Scott.     A  Study  of  English  and  American  Poets.    A  Laboratory 

Method.     New  York,  1900. 
.    A  Study  of  English  Prose  Writers.    A  Laboratory  Method.    New  York, 

1898. 
Crawford,  F.  M.     The  Novel:  What  It  Is.    New  York. 
Crawshaw,  W.  H.     Literary  Interpretation  of  Life.     New  York,  1900. 
Cross,  W.  L.     The  Development  of  the  English  Novel.     1899. 
Dallas,  E.  S.     The  Gay  Science.     2  vols.     1866. 

Degenhart,  F.     Studien  iiber  Zacherias  Werners  Stil.     Prog.  Eichstadt,  1907. 
Drees,  H.     "Ueber  Sprache  und  Stil  in  Scheffels  Ekkehard,"  Alemannia,  29. 

S.  56-72. 
Dreesen,  W.     Romantische  Elemente  bei  Theodor  Storm.     (Diss.)     Bonn,  1905. 
Du  Moulin  Eckart,  R.  Graf.      Der  historische  Roman  in  Deutschland  und 

seine  Entwickelung.     1905. 
Ernst,  P.     Der  Weg  zur  Form.     Aesthetische  Abhandlungen  vomehmlich  zur 

Tragodie  und  Novelle.    Berlin,  1906. 
Fries,  A.      "Zu  Heinrich  v.  Kleists  Stil,"   Stud.  z.  vgl.  Lit.-Gesch.      Bd.  4, 

Ht.  4,  S.  440. 
Furst,  Rudolf.    Die   Vorldufer  der  modernen  Novelle  im  18.  Jahrhundert. 

Halle  a.  S.,  1897. 
FuRTMULLER,  Karl.      Die   Theorie  des  Epos  bei  den  Briidern  Schlegel,   den 

Klassikern  u.  Wilhelm  v.  Humboldt.     Prog.  Wien. 
Gaebel,  K.    Beitrdge  z.  Technik  der  Erzdhlungen  in  den  Romanen  des  jungen 

Scott.     Marburg. 
Gardiner,  J.  H.     The  Forms  of  Prose  Literature.    New  York,  1900. 
Garnier,  J.  D.    Zur  Entwicklungsgeschichte  der  Novellen-Dichtung  Ludwig 

Tiecks.     Giessen,  1899. 
Gayley,  C.  M.,  and  Scott,  F.  N.    An  Introduction  to  the  Methods  and  Materials 

of  Literary  Criticism.     Boston,  1899. 
Gottschall.    Die  deutsche  Nationalliteratur  des  ig.  Jahrhunderts.     Breslau, 

1902. 
Greinz,  R.  H.    Die  tragischen  Motive  in  der  deutschen  Dichtung  seit  Goethes 

Tode.     Dresden  u.  Leipzig,  1889. 
Haller,  L.     Jeremias  Gotthelf.    Studien  z.  Erzdhlungstechnik.     1906. 
Hamilton,  Clayton.    Materials  and  Methods  of  Fiction.    New  York,  1908. 
Hennequin,  Emile.     La  Critique  Scientifique.     1890. 
HoRNE,  Charles  F.     The  Technique  of  the  Novel:    The  Elements  of  the  Art. 

Their  Evolution  and  Present  Use.     New  York  and  London,  1908. 


Io8      TECHNIQUE   IN   KONRAD   FERDINAND   MEYER'S   NOVELLEN 

James,  Henry.    Partial  Portraits.    London,  1888. 

Jessup,  Alex.,  and  Canby,  H.  S.  The  Book  0}  the  Short  Story.  New  York 
and  London,  1906. 

Johnson,  C.  F.    Elements  of  Literary  Criticism.     New  York,  1898. 

Kaiser,  W.  Untersuchungen  iiber  Immermanns  Romantechnik.  (Diss.)  Halle, 
1906. 

Kayka,  E.     Kleist  und  die  Romantik.     Forschungen  z.  neueren  Lit.-Gesch.,  31. 

Ki;iTER,  Heinrich.  Theorie  des  Romans  u.  der  Erzdhlkunst.  2.  Aufl.,  bearb. 
V.  Kellen.     Essen-Ruhr,  1904. 

Kedney.     The  Beautiful  and  the  Sublime.     New  York,  1880. 

Knowlton,  T.  S.    How  to  Write  a  Novel.     London,  1901. 

KoRFF,  Hermann.  Scott  und  Alexis.  Eine  Studie  z.  Technik  des  historischen 
Romans.     (Diss.)     Heidelberg,  1907. 

Lanier,  Sidney.  The  English  Novel.  A  Study  in  the  Development  of  Per- 
sonality.    Rev.  ed.    New  York,  1903. 

Lewis,  E.  H.    History  of  the  English  Paragraph.     1894. 

LuDWiG,  Otto.  Romanstudien.  2.  Bd.;  Ges.Schr.  6.  Bd.;  S.  59-211.  Leipzig, 
189 1. 

Matthews,  James  Brander.     Aspects  of  Fiction.    New  York,  1896. 

.     The  Historical  Novel  and  Other  Essays.     New  York,  190 1. 

.     The  Philosophy  of  the  Short  Story.     1901. 

Meyer,  R.  M.  Die  deutsche  Literatur  des  19.  Jahrhunderts.  2.  Aufl.  Berlin, 
1900. 

MiELKE,  Helmuth.  Der  deutsche  Roman  des  19.  Jahrhunderts.  Braun- 
schweig,  1890. 

Minto,  William.     A  Manual  of  English  Prose  Literature.     Boston,  1895. 

Muller-Ems.     Otto  Ludwigs  Erzdhlungskunst.     Berlin,  1905. 

Nettleton,  G.  R.     Specimens  of  the  Short  Story.     New  York,  1901. 

Noel,  R.  "The  Use  of  Metaphor  and  the  Pathetic  Fallacy,"  Fortnightly,  5, 
p.  670. 

NoRRis,  Frank.  The  Responsibilities  of  the  Novelist,  and  Other  Literary  Essays. 
1903. 

Painter,  F.  V.  N.     Elementary  Guide  to  Literary  Criticism.     Boston,  1903. 

Perry,  Bliss.     A  Study  of  Prose  Fiction.     Boston,  1902. 

Perry,  Thos.  S.  English  Literature  in  the  Eighteenth  Century.  New  York, 
1883. 

Pfordten,  Otto  von  der.  Werden  und  Wesen  des  historischen  Dram^is.  Hei- 
delberg, 1901. 

Raleigh.    Style.     London,    1897. 

Raymond,  G.  L.    Art  in  Theory.     New  York,  1894. 

.     Poetry  as  a  Representative  Art.    3d.  ed.    New  York  and  London,  1898. 

.     Rhythm  and  Harmony  in  Poetry  and  Music  together  with  Music  as  a 

Representative  Art.  Two  Essays  in  Comparative  Aesthetics.  New  York, 
1895- 


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Rehorn.     Der  deutsche  Roman.     Koln  u.  Leipzig,  1890. 
RiEMANN.     Goethes  Romantechnik. 

.     "  Ueber  Engels  'Herm  Lorenz  Stark,' "  Euphorion,  7,  pp.  266,  482. 

Robertson,  John  M.    Essays  toward  a  Critical  Method.     London,  1889. 

.     New  Essays  toward  a  Critical  Method.     I^ondon  and  New  York,  1897. 

S  ANT  AY  ANA,  George.     The  Sense  of  Beauty,  Being  the  Outlines  of  Aesthetic 

Theory.     New  York,  1896. 
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.     Poetik.     Berlin,  1888. 

ScHUTZE,  Martin.    Studies  in  German  Romanticism.     Pt.  I.     Chicago,  1907. 

Senior,  Nassau  W.    Essays  on  Fiction.     London,  1864. 

Sherman,  L.  A.     Analytics  of  Literature.     A  Manual  for  the  Objective  Study 

of  English  Prose  and  Poetry.     Boston,  190 1. 
Sherman,  W.  H.     A  Handbook  of  Literary  Criticism.     New  York,  1905. 
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.     Das  Schone  und  die  Kunst.     Stuttgart,  1899. 

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1905. 
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Wenger,  K.     Historische  Romane  deutscher  Romantiker.     1905. 
Whitcomb,  Selden  L.     The  Study  of  a  Novel.     Boston,  1905. 
Winchester.  C.  T.     Principles  of  Literary  Criticism.     1899. 
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York,  1893. 


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